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Rolling Stones drummer Charlie Watts dies at age 80

LONDON — Charlie Watts, the self-effacing and unshakeable Rolling Stones drummer who helped anchor one of rock’s greatest rhythm sections and used his “day job” to support his enduring love of jazz, has died, according to his publicist. He was 80.

Bernard Doherty said Tuesday that Watts “passed away peacefully in a London hospital earlier today surrounded by his family.”

“Charlie was a cherished husband, father and grandfather and also as a member of The Rolling Stones one of the greatest drummers of his generation,” Doherty said.

Watts had announced he would not tour with the Stones in 2021because of an undefined health issue.

The quiet, elegantly dressed Watts was often ranked with Keith Moon, Ginger Baker and a handful of others as a premier rock drummer, respected worldwide for his muscular, swinging style as the Stones rose from their scruffy beginnings to international superstardom. He joined the band early in 1963 and remained over the next 60 years, ranked just behind Mick Jagger and Keith Richards as the group’s longest lasting and most essential member.

Watts stayed on, and largely held himself apart, through the drug abuse, creative clashes and ego wars that helped kill founding member Brian Jones, drove bassist Bill Wyman and Jones’ replacement Mick Taylor to quit and otherwise made being in the Stones the most exhausting of jobs.

A classic Stones song like “Brown Sugar” and “Start Me Up” often began with a hard guitar riff from Richards, with Watts following closely behind, and Wyman, as the bassist liked to say, “fattening the sound.” Watts’ speed, power and time keeping were never better showcased than during the concert documentary, “Shine a Light,” when director Martin Scorsese filmed “Jumpin’ Jack Flash” from where he drummed toward the back of the stage.

The Stones began, Watts said, “as white blokes from England playing Black American music” but quickly evolved their own distinctive sound. Watts was a jazz drummer in his early years and never lost his affinity for the music he first loved, heading his own jazz band and taking on numerous other side projects.

Story continues

He had his eccentricities — Watts liked to collect cars even though he didn’t drive and would simply sit in them in his garage. But he was a steadying influence on stage and off as the Stones defied all expectations by rocking well into their 70s, decades longer than their old rivals the Beatles.

Watts didn’t care for flashy solos or attention of any kind, but with Wyman and Richards forged some of rock’s deepest grooves on “Honky Tonk Women,” “Brown Sugar” and other songs. The drummer adapted well to everything from the disco of “Miss You” to the jazzy “Can’t You Hear Me Knocking” and the dreamy ballad “Moonlight Mile.”

Jagger and Richards at times seemed to agree on little else besides their admiration of Watts, both as a man and a musician. Richards called Watts “the key” and often joked that their affinity was so strong that on stage he’d sometimes try to rattle Watts by suddenly changing the beat — only to have Watts change it right back.

He also had an impact on the Rolling Stones that extended beyond drumming. He worked with Jagger on the ever more spectacular stage designs for the group’s tours. He also provided illustrations for the back cover of the acclaimed 1967 album “Between the Buttons” and inadvertently gave the record its title. When he asked Stones manager Andrew Oldham what the album would be called, Oldham responded “Between the buttons,” meaning undecided. Watts thought that “Between the Buttons” was the actual name and included it in his artwork.

To the world, he was a rock star. But Watts often said that the actual experience was draining and unpleasant, and even frightening. “Girls chasing you down the street, screaming…horrible!… I hated it,” he told The Guardian newspaper in an interview. In another interview, he described the drumming life as a “cross between being an athlete and a total nervous wreck.”

Watts found refuge from the rock life, marrying Shirley Ann Shepherd in 1964 and having a daughter, Seraphina, soon after. While other famous rock marriages crumbled, theirs held. Jagger and Richards could only envy their bandmate’s indifference to stardom and relative contentment in his private life, which included happily tending horses on a rural estate in Devon, England.

Author Philip Norman, who has written extensively about the Rolling Stones, said Watts lived “in constant hope of being allowed to catch the next plane home. ” On tour, he made a point of drawing each hotel room he stayed in, a way of marking time until he could return to his family. He said little about playing the same songs for more than 40 years as the Stones recycled their classics. But he did branch out far beyond “Satisfaction” and “Jumpin’ Jack Flash” by assembling and performing with jazz bands in the second half of his career.

Charles Robert Watts, son of a lorry driver and a housewife, was born in Neasden, London, on June 2, 1941. From childhood, he was passionate about music — jazz in particular. He fell in love with the drums after hearing Chico Hamilton and taught himself to play by listening to records by Johnny Dodds, Charlie Parker, Duke Ellington and other jazz giants.

He worked for a London advertising firm after he attended Harrow Art College and played drums in his spare time. London was home to a blues and jazz revival in the early 1960s, with Jagger, Richards and Eric Clapton among the future superstars getting their start. Watts’ career took off after he played with Alexis Korner’s Blues Incorporated, for whom Jagger also performed, and was encouraged by Korner to join the Stones.

Watts wasn’t a rock music fan at first and remembered being guided by Richards and Brian Jones as he absorbed blues and rock records, notably the music of bluesman Jimmy Reed. He said the band could trace its roots to a brief period when he had lost his job and shared an apartment with Jagger and Richards because he could live there rent-free.

“Keith Richards taught me rock and roll,” Watts said. “We’d have nothing to do all day and we’d play these records over and over again. I learned to love Muddy Waters. Keith turned me on to how good Elvis Presley was, and I’d always hated Elvis up ’til then.”

Watts was the final man to join the Stones; the band had searched for months to find a permanent drummer and feared Watts was too accomplished for them. Richards recalled the band wanting him so badly to join that members cut down on expenses so they could afford to pay Watts a proper salary. Watts said he believed at first the band would be lucky to last a year.

“Every band I’d ever been in had lasted a week,” he said. “I always thought the Stones would last a week, then a fortnight, and then suddenly, it’s 30 years.”

For much of his career, Watts resisted the excesses of his bandmates, but he fell into heroin addiction in the mid-1980s. He would credit his stable relationship with his wife for getting him off drugs.

“I was warring with myself at that time,” he told Rolling Stone magazine.

With his financial future secure because of the Stones’ status as one of the world’s most popular live bands, Watts was able to indulge his passion for jazz by putting together some of the most talented musicians in Britain for a series of recordings and performances. They typically played during the long breaks between Stones tours.

His first jazz record, the 1986 “Live at Fulham Town Hall,” was recorded by the Charlie Watts Orchestra. Others by the Charlie Watts Quintet followed, and he expanded that group into the Charlie Watts and the Tentet.

Watts was an acclaimed jazz bandleader when he was stricken with throat cancer in 2004. He received extensive treatment and made a full recovery. His return to health allowed him to resume touring with both the Stones and his jazz band.

By then, the young man who had worn his brown hair down to his shoulders in the late 1960s had evolved into a craggy, white-haired, impeccably dressed senior statesman of rock. Getting Watts to talk about his place in rock history was almost impossible, but he seemed to enjoy talking about fashion. It was not unusual to see him attired in a custom-made suit and polka dot tie while his bandmates wore jeans and T-shirts.

In the tumultuous, extremely competitive world of rock and roll, Watts seemed to make few enemies.

“It all seems to boil down to a certain quality which is as rare as hen’s teeth in the music business, but which Charlie Watts is perceived to have in abundance. In a word, decency,” columnist Barbara Ellen wrote after interviewing Watts in 2000. “You’ve got to hand it to a…man who’s played with the world’s most influential rock ‘n’ roll band…and stayed happily married to his wife, Shirley….A man who, moreover, remains resolutely determined not to take his elevated position too seriously.”

____

Former Associated Press Writers Greg Katz and Janelle Stecklein compiled biographical material for this story.

Jill Lawless, The Canadian Press

Foursquare travel tips: The French for cinema is Paris

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— go instead in January and take in the city’s cinema. Here are some good places to start. All movie houses listed below show films in original language with French subtitles (with the sometime exception of the Rex) . Look for listings that say VO. ( Films dubbed in French will be listed as VF)

• Le Champo (51 Rue des Ecoles, 5th arrondissement. Metro Saint-Michel, Odéon, or Cluny La Sorbonne) in the Latin Quarter dates back to 1938, and is a favourite of Sorbonne students. The university is a block away. In the day it premiered films by French directors like Marcel Carné and is now known for an exhaustive list of retrospectives celebrating Woody Allen, the Nouvelle Vague, and Tim Burton to name but a few.

• Right next door to the Champo is another Latin Quarter favorite: Le Reflet Medicis which draws fans of film noir revivals and some of the best international contemporary independent cinema.

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• The Action group is renowned for screening new prints of old movies. Action Christine ( rue Christine, 6th. Metro Odéon or St-Michel ) offer regular cycles like Hitchcock or Billy Wilder. You’ll never want to watch North by Northwest on a small screen again). At Action Ecoles, (23 rue Ecoles 5th. Metro Maubert Mutualité) catch the L’aventura by Antonioni and other Italian neo-realists; Grands Action (5, rue des Ecoles, 5th Metro Cardinale Lemoine) shows vintage and niche films (it recently hosted a festival of Austrian love films).

• Le Saint Germain des Pres (22, Rue Guillaume Apollinaire, 6th. Metro Saint Germain des Pres.) A mixed art house/ mainstream single screen cinema in the heart of Left Bank intellectualism.

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• La Pagode (57bis Rue de Babylone, 7th, Metro Saint François Xavier) The beautiful pagoda with Japanese garden was transformed into a movie theatre in the 30s. Since restored it has also added a modern screening room. But try and see a film in the original Salle Japonaise. English language new releases and some revivals.

• Mk2 Quai de Seine (14 quai de la Seine, 19th Métro Stalingrad/Jaurès) and Mk2 Quai de Loire (7 quai de la Loire (19e) – Métro: Stalingrad/Jaurès) are fairly new cineplexes that face each other across a canal in the once working class 19th arrondissement. The theatres have helped the cultural revival of the formerly seedy area. A tiny boat shuttles you from one theatre to another. Both have cafes and restaurants.

Article content

• The Pantheon (13 rue Victor-Cousin, 5th RER Luxembourg) is the oldest existing cinema in Paris and the first to show films in English. It celebrated its 100th anniversary in 2007. Its facade features an art deco rendering of a vintage projector; inside is a tearoom created by Catherine Deneuve in celebration of its centenary. New and often obscure international films are screened here.

• Centre Georges Pompidou Cinema (Rue St-Martin, 4th, Metro Hôtel de Ville or Rambuteau) The seventh art is also celebrated in Paris’s most popular contemporary art museum, The cinematheque in a corner of the main floor has tributes to great directors and thematic festivals. Recent retrospectives have included homages to Jean-Luc Godard, and Canadian film director Guy Maddin.

Le Grand Rex (1 bd Poissonnière, 2nd, Metro Bonne Nouvelle) An art deco wedding-cake exterior and the largest screening room in Europe (2,750 seats), this cinema/concert hall is a listed historical monument and usually screens current blockbusters (sometimes dubbed).

• La Cinémathèque Française (51 rue de Bercy, 12th, Metro Bercy. ) Henri Langlois’ cinematheque was recently relocated to Frank Gehry’s striking cube in the up and coming 12th arrondissement. Four screening rooms showing retrospectives, cult movies, classics and , experimental cinema). There’s also a Musée du Cinéma.

Chinese rock | History and modernity

From the history of the development of Chinese music

Back in the 1st century BC. NS. more than 80 species were known in China
national musical instruments. The main types were gradually formed
traditional music: songs, dance music, music of song tales, music
local operas and instrumental music.

The best examples of ancient classical music were a piece for qin
(seven-stringed plucked instrument) “Guanglingsan”, “Suite of 18 parts for
Hujia flutes “, piece for pipa (four-stringed lute)” Circular ambush “, piece
for wind and string instruments “Moonlight and flowers on the spring river” and
dr.

In 1919, the Chinese
European elements of
began to permeate the music. In 30 – 40 years. Chinese musicians write
folk works, for example, composed
composer Ne Erom “March
volunteers “to the words of Tian Han is now the national anthem of the Chinese
People’s Republic.

The appearance of the opera
The Gray-haired Girl opened a new era in the creation and development of Chinese opera.

Further development of art is associated with the emergence of a huge
the number of professional musical groups, the emergence of various
music competitions.

Regularly held festivals “Shanghai Spring”, “Festival of Music and Flowers
Guangzhou “,” Beijing Choir Music Festival “,” Music Week
Northeast China “,” North China Music Week “,” Music Week
Northwest China “,” Spring City Music Festival “(Kunming), and
other.

Since harmony is very important to the Chinese,
correctness and balance.

There was even a beautiful legend about music in more detail…

Contemporary Chinese Music

Cui Jian is considered the “father” of Chinese rock .

Chinese rock is a mixture of traditional Chinese instruments with drive
modern
.
As in many countries, rock came from the West.

Additional influence at the beginning of 20
centuries – jazz, blues.

Breakthrough was the appearance of metal (rock) Ozzy Osbourne in the 80s,
Rage Against the Machine etc.

Its popularity grew more and more on the mainland,
and played an important role during the 1989 Tiananmen protests. and the fight against politics
governments regarding censorship, sales and recording of discs.

At radio stations,
state-controlled rock musicians were little loved.

Northwest wind (1980s)

Chinese rock has its origins in xibeifeng (northwest wind), which
appeared in mainland Chinese pop music. The new style was triggered by 2 songs
“Xintianyou” and “I Have Nothing”…. It was
combining fast western rhythm,
aggressive bass line and strong drums.

Unlike soft cantopop (pop music in Cantonese
adverbs) these songs sounded like thunder. Many songs of the Northwest
wind “were idealistic, sharply political, parodies of revolutionary
communist songs such as “Nanniwan” and “The
Internationale. “They reflected the youth’s dissatisfaction with the current situation
in the country, and at the same time the growing influence of Western ideas of individualism,
egocentrism.

Prison
songs (1988-1989)

“Prison Songs” became popular in 1988 and early 1989, in parallel with
style “northwest wind”.

This strange quirk is due to
Chi Zhiqiang, who wrote poetry about his time in prison and connected them
with folk songs of the same region. But unlike the previous style, prison
songs were slow, tearful, took negative examples as
sample and often used vulgarisms, expressing cynicism and despair.

Their
non-conformist values ​​are visible in the songs “Mother is very confused” and
“Not a drop of oil on a plate.”

Birth
Chinese Rock (1984)

The birthplace of Chinese rock was in Beijing since
the capital was the most politicized and subject to foreign influence.
Most of the 80s performed in small bars and hotels. Music was
exclusively among university youth and bohemians.

In late 1989 and early 1990, Chinese rock became mainstream,
combining prison songs and the “northwest wind” style.
In the spring of 1989, the song “I Have Nothing” became the de facto anthem
student protest in Tiananmen Square.

In addition, in May and July of the same
of the year, 3 famous Chinese rock bands performed: Breathing (Huxi), Cobra, and
Zang Tianshuo. The first rock bands included “Infallible” (Budaoweng),
created by Zang Tianshuo and Tang Dynasty (Tang Chao), vocalist and rtm guitarist
Ding Wu, and perhaps the most famous: “Black Panther” (Hei Bao), and
originally the leader of Chinese alternative music Dou Wei.

The heyday of Chinese rock (1990-1993)

After Tiananmen demonstrations, rock became an integral part of
urban youth culture
. His departure from marginality happened on 17 and 18
February 1990, when the longest concert took place in the largest
concert hall in Beijing.

6 rock bands performed at it, among them Cui Jian
– Ado
and Tang Dynasty . The selection criterion was “originality and
novelty”.

Chinese rock has reached its peak of creativity and
popularity between 1990 and 1993 90,013. Hundreds of rock bands appeared, many performed
constantly. But since the state continued to delete them from events and
was not shown on the central channels, most of the performances took place on
underground parties.

Most rock musicians of this period characterize: long hair, black leather jackets, jeans,
silver metallic patterns, and hippie carefree.Rock had a huge
impact on the intellectual stratum of the population.

But together with the gradual departure from
northwest roots, there was a feeling of nostalgia and an understanding of how far
Gone is modern China from traditional rural culture.

Chinese Rock Sunset (1994)

Since 1994, Chinese rock has been in another decline. This is just
partly due to the unchanging attitude of the government and the ban on rock
music. There has been a general decline in interest in
politicized songs and books.

People became more interested in the market
economy, improving living standards. It can be noted that by 2005, this
the trend has only intensified, the Chinese economy is booming, and the population
more interested in economic reforms than political ones.

Chinese Rock Revival (2000 – Present)

In 2000-2004, post-punk and extreme metal appeared on the rock scene, a certain
Visual kei and gothic rock also gained popularity.

In 2004-2005. Beijing’s Joyside held their first
concert tour of the cities of China. On the trip they were accompanied by an American director
Kevin Fritz, who directed his film Wasted Orient.

Today, rock music is found only in the very center of Beijing
and has limited influence in society. The development of Chinese rock was different from
Western, it never became mainstream. And his marginality rather indicates
on fundamental cultural, political and social differences between the West
and China.

Beijing Midi School of Music and Music
festival “Midi”

Others
an important step in the development of Chinese rock was the Beijing School of Music
“Midi”
.

Founded in 1993 by Zhang Fan, it became the first training
institution in China
offering training programs for jazz and rock musicians .

Festival
modern music “Midi”, first performed in 1999
, originally
was limited to the school, but eventually developed into the largest rock festival
China.The festival is held annually, gathering up to 80 thousand spectators and more than 100
performers.

Chinese rock bands

  • 1989

  • “阿 修羅” ( a xu lo , Chinese “Asura”)

  • “uhuei” (. “Again”)

  • “AK-47”

  • “Anodized”

  • “Baboo”

  • “Black Box”

  • “黑豹” ( hei biao . ..”Black Panther”)

  • “腦 濁” ( nao zhuo , Chinese. “Brain failure”)

  • “Carsick Cars”

  • “Cavesluts”

  • CLAX

  • “眼镜蛇” ( yangjingshe , Chinese “Cobra”)

  • “冷血动物” ( lengxue dongwu , Chinese “Cold-blooded”)

  • “冷酷 eng” ( lqingku ” Chinese “Cold fairyland”)

  • “子曰” ( ziyue , China.“Confucius says …”)

  • “Dzap Dau Dau”

  • “秋天 的 虫子” ( qutyan de chunzi , Chinese “Autumn insects”)

  • 乐队” yuedui , Chinese “Flowers”)

  • “青蛙 乐队” ( qingwa yuedui , Chinese “Frogs”)

  • “鲍家 街 43 号” ( baojia jie 43 hao , kit “Baojia Street 43”)

  • “一 迷离” ( jianmili , Gemini)

  • “挂 在 盒子 上” ( gua tsai hezi shang , ch.”Hold on to the box”)

  • “幸福 大街” ( xingfu daijie , China. “Happy Avenue”)

  • “. .. Huh !?”

  • “胡同 拳头” ( Hutong Quantou , Chinese “Hutong’s Fist”)

  • “无限 音” ( Wu Xian Yin , Chinese “Endless Sound”)

    04

  • 4
  • “交工 樂隊” ( jiao gun yuedui , Chinese “Labor exchange group”)

  • “左右” ( zuo yu , ch.”Left and Right”)

  • “木马” (“MUMA”)

  • “超载” ( chaozai , Chinese. “Overload”)

  • “与 非 门” ( 9016 yuifei “NAND”)

  • “新 裤子” “” ( xin kuzi , Chinese “New trousers”)

  • “盘古” (“Pangu”, sometimes also – PunkGod)

  • “Ping Pung “

  • ” PK14 “

  • ” Proximity Butterfly “

  • ” 后 海 大 鲨鱼 “”King shark”)

  • “反光 镜” ( Fangguangjing , Chinese “Reflector”)

  • “废墟” ( Feixu , Chinese “Ruins”)

  • 9000 玫瑰( ershou meigui , Chinese. “Second-hand rose”)

  • “病 蛹” ( Binyun , Chinese. “Sick larvae”)

  • “银色 灰尘” . “Silver ash”)

  • “清醒” ( qingxing , whale. “Sober”)

  • “窒息” ( zhi si , whale.”Choking”)

  • “春秋” ( chun qiu , Chinese “Spring and Autumn”)

  • “超级市场” ( chaoji shichang , Chinese “Supermarket”)

  • “唐朝 “( tang chao , Chinese” Tang Dynasty “)

  • ” 麦田 守望 者 “( Maitian Shouvanzhe , Chinese” Catcher in the Rye “)

  • ” Total Maverick Decadence ” TMD)

  • “战斧” ( zhanfu , Chinese “Tomahawk”)

  • “扭曲 的 机器” ( nyuqu de jizi , ch.”Twisted machine”)

  • “什么” ( shenme , Chinese “What?”)

  • “野孩子” ( e haizi , Chinese “Wild children”)

  • “木 推 瓜 “( mu tui gua , Chinese” Wooden papaya “)

  • ” 妖 “(” Yao “)

  • ” 夜叉 “( echa ,” Yaksha “)

  • 9000 “Zen”

  • “葬 尸 湖” ( zang shih hu , “Zuriaake”)


About the brand »Two balls

Gym shoes in the USSR

The history of sneakers in the Soviet Union began in 1957, while the Soviets hosted the Sixth World Festival of Youth and Students, which brought together juniors from all ideologically free continents. At that time, boys from exemplary Soviet families continued to wear patent leather boots or sandals, and the progressive and broad-minded youth of the West turned to newfangled sneakers.

Gym shoes in the USSR


The broad masses of the Land of Soviets liked all this wildly. And sneakers, and people, and the intoxicating spirit of freedom. The famous “thaw” began, affecting not only politics and culture, but also the way of life of young people.Young citizens began to relate more freely to their appearance.

Gym shoes in the USSR

The broad masses of the Land of Soviets liked all this wildly. And sneakers, and people, and the intoxicating spirit of freedom. The famous “thaw” began, affecting not only politics and culture, but also the way of life of young people. Young citizens began to relate more freely to their appearance.

Gym shoes in the USSR

Thus, the social demand for sneakers as shoes of the free world was finally formed. Soon, sneakers appeared in the USSR. The product began to be sold in cyclopean volumes. GOST for Soviet sneakers appeared shortly after the festival: it was assigned the number 9155 and meant “Sports shoes, rubber and rubber-textile”

Keds in the USSR

Oddly enough, in the Soviets, sneakers were not in short supply. In the 60s, everyone wore them – from first graders to classmates of the famous Shurik. It was always possible to buy Soviet sneakers at a nearby sporting goods store, so they were worn without hesitation around the clock, both in winter and in summer.Everyone liked these shoes – they looked stylish and, moreover, turned out to be much more comfortable than outdated Czech women.

Gym shoes in the USSR

Oddly enough, in the Soviets, sneakers were not in short supply. In the 60s, everyone wore them – from first graders to classmates of the famous Shurik. It was always possible to buy Soviet sneakers at a nearby sporting goods store, so they were worn without hesitation around the clock, both in winter and in summer. Everyone liked these shoes – they looked stylish and, moreover, turned out to be much more comfortable than outdated Czech women.

Gym shoes in the USSR

Clear documentary evidence that literally all Soviet youth changed into sneakers, as if they had become even “faster-higher-stronger”, appeared in 1967. Then the American reporter Bill Appridge came to the country, who filmed the famous reportage of Soviet Youth here, reflecting the sports step of Soviet youths: to football, and to a picnic, and to the beach.

Gym shoes in the USSR

Clear documentary evidence that literally all Soviet youth changed into sneakers, as if they had become even “faster-higher-stronger”, appeared in 1967.Then the American reporter Bill Appridge came to the country, who filmed the famous reportage of Soviet Youth here, reflecting the sports step of Soviet youths: to football, and to a picnic, and to the beach.

Gym shoes in the USSR

Clear documentary evidence that literally all Soviet youth changed into sneakers, as if they had become even “faster-higher-stronger”, appeared in 1967. Then the American reporter Bill Appridge came to the country, who filmed the famous reportage of Soviet Youth here, reflecting the sports step of Soviet youths: to football, and to a picnic, and to the beach.

Gym shoes in the USSR

Clear documentary evidence that literally all Soviet youth changed into sneakers, as if they had become even “faster-higher-stronger”, appeared in 1967. Then the American reporter Bill Appridge came to the country, who filmed the famous reportage of Soviet Youth here, reflecting the sports step of Soviet youths: to football, and to a picnic, and to the beach.

Gym shoes in the USSR

Clear documentary evidence that literally all Soviet youth changed into sneakers, as if they had become even “faster-higher-stronger”, appeared in 1967.Then the American reporter Bill Appridge came to the country, who filmed the famous reportage of Soviet Youth here, reflecting the sports step of Soviet youths: to football, and to a picnic, and to the beach.

Gym shoes in the USSR

Clear documentary evidence that literally all Soviet youth changed into sneakers, as if they had become even “faster-higher-stronger”, appeared in 1967. Then the American reporter Bill Appridge came to the country, who filmed the famous reportage of Soviet Youth here, reflecting the sports step of Soviet youths: to football, and to a picnic, and to the beach.

Gym shoes in the USSR


Of course, with such a wide popularity, sneakers simply could not help but migrate to television screens. As for the cinema – remember what unites the android boy Elektronik, the adventurers Petrov and Vasechkin, Sharik from Prostokvashino “or the broken-down cartoon wolf from Just you wait!” – they all portrayed not polished images, but simple, as if from a neighboring yard, guys. And these true images, which made the heroes “theirs” to each contemporary, were invariably completed by sneakers.

Gym shoes in the USSR

Of course, with such a wide popularity, sneakers simply could not help but migrate to television screens. As for the cinema – remember what unites the android boy Elektronik, the adventurers Petrov and Vasechkin, Sharik from Prostokvashino “or the broken-down cartoon wolf from Just you wait!” – they all portrayed not polished images, but simple, as if from a neighboring yard, guys. And these true images, which made the heroes “theirs” to each contemporary, were invariably completed by sneakers.

Gym shoes in the USSR

But even in Soviet reality, heroes more and more often put on practical and stylish shoes. The first in charm and universal love was, of course, Yuri Gagarin. The pioneer of outer space invariably went to sports grounds in sneakers.

Gym shoes in the USSR

But even in Soviet reality, heroes more and more often put on practical and stylish shoes. The first in charm and universal love was, of course, Yuri Gagarin.The pioneer of outer space invariably went to sports grounds in sneakers.

Gym shoes in the USSR

Already in the 80s, sneakers not only took root in urban culture, but at the same time also became one of the symbols of a free, dissenting lifestyle. Those who were in sneakers at the institute, and on a walk, and at a concert – did so often, demonstrating: boring rules and decrepit foundations are not for us, we are a new wave. The pioneer of the “new wave” in music, the herald of change, without exaggeration – Viktor Tsoi became a symbol for millions.Both he and other rockers often lived in sneakers, performed, were sad and had fun.

Gym shoes in the USSR

Already in the 80s, sneakers not only took root in urban culture, but at the same time also became one of the symbols of a free, dissenting lifestyle. Those who were in sneakers at the institute, and on a walk, and at a concert – did so often, demonstrating: boring rules and decrepit foundations are not for us, we are a new wave. The pioneer of the “new wave” in music, the herald of change, without exaggeration – Viktor Tsoi became a symbol for millions.Both he and other rockers often lived in sneakers, performed, were sad and had fun.

Gym shoes in the USSR

Despite the rather generalized image in popular culture, in the photo and video chronicle, sneakers in the USSR were different. Among them, the ultimate dreams were the models of the Soviet-Chinese production, under the name “TWO BALL”. They were not an example of better quality than domestic ones, it was more difficult to get them, and the colors and design at the same time favorably differed from the common Soviet models.The fact that they were “imports” (and the word then meant much more than now), the features of their appearance, and most importantly – the quality – all this made them an object of cult. The blue sneakers with the strongest green soles immediately proved to be reliable and versatile, and the fact that they did not have any one purpose, were not created for a specific sport, was emphasized by the emblem with two balls – football and basketball. Some even read in the symbol a good ideological message about two hemispheres, multipolarity, in other words: world peace!

Gym shoes in the USSR

For girls, sneakers have become a means of introducing a boyish, non-conformist lifestyle. Boring dresses were put aside, and now there was always something to complement short shorts or hard-to-get jeans. Snow-white sneakers with tanned legs made the Soviet young lady simple, open and attractive, whether on a hike, in the gym or on the Yalta embankment.

Gym shoes in the USSR


It is the all-white TWO BALL sneakers that have become the most precious commodity. They cost four rubles instead of a twenty-five ruble for the Soviet counterpart.

Gym shoes in the USSR

It is the all-white TWO BALL sneakers that have become the most precious commodity. They cost four rubles instead of a twenty-five ruble for the Soviet counterpart.

Gym shoes in the USSR

Without delving into history, one might think that the Soviet-Chinese project ked had more than just economic roots. But no, the production of innovative sports shoes firmly established itself on the basis of the rapprochement between the Soviet Union and the PRC, which began on February 14, 1950. Then China and the USSR signed the Treaty of Friendship, Alliance and Mutual Assistance. The diplomacy of the large eastern republic leaned towards an even larger northern neighbor, and the strong Soviet Union did not remain in debt, providing the PRC with lucrative loans, building over 300 large factories and fully equipping them.

Gym shoes in the USSR

The result was not long in coming, and now more than half of the PRC’s trade volume fell on the USSR. Technical and intellectual cooperation also developed: many Soviet specialists from various industries were sent to China.Along with the rise in the quality of production, new technologies were launched. Sneakers “TWO BALL”, of course, did not have the same geopolitical, industrial significance as much else produced by the two countries. But it is the footwear under this brand that has become the main symbol of friendship and cooperation.

Sneakers in the USSR

The first model (1965) was made on the basis of a Chinese sneaker, which had a classic socialist design of that time, in this model the design was not changed, only the type of last was changed (to fit a wide Soviet leg) and added their own logos . ..

Gym shoes in the USSR

The 1969 model already had its own Soviet design, the entire top was designed by our light industry employees.

Gym shoes in the USSR

And starting from 1971, all models were made on the basis of updated pads and completely according to Soviet patterns, design and developments. The outsole has been changed, as well as an orthopedic insole and many small details.As a result, 8 different models were formed, which were produced at regular intervals.

Gym shoes in the USSR

Step by step, year after year, thousands of kilometers traveled by Soviet youth in “TWO BALL” were growing. 10 years after the aforementioned World Festival of Youth and Students, sneakers have become so ingrained in Soviet life that they have become an indispensable attribute of it. Now every student in physical education was in a line with round rubber badges near the ankles.In the 70s it became clear that there was little that could replace “TWO BALL” in city life either. And already on a hike – whether on a kayak or in the mountains, it was the main thing that should be prepared and not put in a backpack – the sneakers were on Soviet young men at all stages of their journey.

Gym shoes in the USSR

Step by step, year after year, thousands of kilometers traveled by Soviet youth in “TWO BALL” were growing. 10 years after the aforementioned World Festival of Youth and Students, sneakers have become so ingrained in Soviet life that they have become an indispensable attribute of it.Now every student in physical education was in a line with round rubber badges near the ankles. In the 70s it became clear that there was little that could replace “TWO BALL” in city life either. And already on a hike – whether on a kayak or in the mountains, it was the main thing that should be prepared and not put in a backpack – the sneakers were on Soviet young men at all stages of their journey.

Gym shoes in the USSR

Step by step, year after year, thousands of kilometers traveled by Soviet youth in “TWO BALL” were growing. 10 years after the aforementioned World Festival of Youth and Students, sneakers have become so ingrained in Soviet life that they have become an indispensable attribute of it. Now every student in physical education was in a line with round rubber badges near the ankles. In the 70s it became clear that there was little that could replace “TWO BALL” in city life either. And already on a hike – whether on a kayak or in the mountains, it was the main thing that should be prepared and not put in a backpack – the sneakers were on Soviet young men at all stages of their journey.

Gym shoes in the USSR

Despite the all-Union recognition, starting with the Olympics-80, sneakers, as actual footwear, are beginning to fade into the background. They are being replaced by more and more popular and sophisticated sneakers. They expected a miracle from the latter, believing that they are even more athletic and utilitarian. But only time has shown that nothing gives a leg such lightness and comfort as the classic and simplicity of reliable sneakers.

Gym shoes in the USSR

The latest stock models of domestic sneakers disappeared from the shelves of sports stores in the late 80s.At the same time, the Berlin Wall and the Soviet empire are crumbling. Borders are opening, and a stream of cheap and low-quality consumer goods, mainly fakes of famous foreign brands, is pouring into the country. In such conditions, it became impractical to produce an honest, high-quality product, and “TWO BALL” along with their Soviet counterparts cease to exist, remaining only in our crystal-clear memories.

Revival

The idea to revive the legendary brand of the past came from a group of young entrepreneurs in 2013.It was then that work began on the forgotten brand “TWO MYACHA”. “These days, a low-quality and faceless mass-market product has already become very boring. Motley consumer goods, attractive in the nineties, are no longer pleasing to the eye, the Russian consumer society has grown and become more demanding. Thus, today there is a strong need for high-quality products, and especially for high-quality products developed by our specialists, oriented to Russian standards and broadcasting our culture and heritage, ”says the“ TWO MYACHA ”company.

Revival

“The product should not only be of high quality, but also honest in its concept. This is not pseudo-retro, not as though vintage. This is a true recreation of the best from the past, in its original form – constructively and externally. “TWO BALL” combine the best materials with time-tested technologies and represent the sneakers in their standard form. ”

Modern vision

Keds TWO BALLS have come a long way from the love of sports and dance floors in the 60s to oblivion in the 90s, to come back to you today.Today TWO BALL is a brand imbued with the good old Soviet aesthetics, embodying angular design, the best materials and time-tested technologies, a tribute to both the socialist heritage and nostalgia for quality that has swept the world.

Modern vision

Keds TWO BALLS have come a long way from the love of sports and dance floors in the 60s to oblivion in the 90s, to come back to you today. Today TWO BALL is a brand imbued with the good old Soviet aesthetics, embodying angular design, the best materials and time-tested technologies, a tribute to both the socialist heritage and nostalgia for quality that has swept the world.

Modern vision

TWO BALLS are made for people who love quality and at the same time can treat brands as such with sufficient irony, and the use of more authentic communication messages, more understandable symbols and elements of a culture close to us brings us back to those sunny and serene times when people were kinder, and the grass is greener. We are sure that we have caught something from the past, and this can be passed on to others, give others a reason to smile, remember the best of bygone times, catch a romantic or a special free-bold mood.

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