the world will be in the future, yes, that is, korea is tearing up k-pop, for example, no matter how it sounds, what kind of kpo pop, korea, korean, korean popular music is tearing up the world, yes, that is, now the most popular, well , this was the first, here who started to tear, and you know, of course, i know that, he ’s the first, i haven’t listened to this music much, but i know that there is a genre called cakepad, and...

which tells us about that , how he wrote music, we study modern composition, he tells us, this is how tis mon wrote, here he uses such techniques , such harmonies, in this piece he has such harmony, the next piece has such harmony, and now you write in the style of tilonius monk, you sit, write, i have a composition called siberian mont, also here, we we create, so to speak, a school, classes, yeah, and we take what’s popular there, it’s popular here, it comes.

producers, they created the technology, took swedish composers, young, young talented guys, yes, that is, they did not go to festivals, because there are no festivals there, so they couldn’t find oleg akuratov there, but they are doing the opposite, they take very young children, train them for 8 years, then release them into these groups, bts, for example, this is approximately the product, this is possible. we have this option, when such smart people gather, they launch a conveyor belt, in which both talented children and maybe not so talented ones find themselves, we have a new music industry, for example, like this, well , in general, in my case i talked with one of our famous producers on this topic, and one of my ideas was: let’s get together, here are famous producers, composers, let’s get together and discuss how we can surprise the world.

our own not unknown and also get together and discuss, this is a topic for discussion, a topic for discussion, what to do next so that the whole world listens to us, but here we are in jazz, i know how to do it, popular jazz, as far as i understand, we have better american jazz, well , sometimes sometimes it’s better here, but although there is something to strive for, you know, here we were when it was my anniversary, so oleg played and sang there and larisanovna came, near the valley, the marsalis orchestra came, they have trumpeters, of course.

oh, in general, there’s not even a drummer , not even a double bassist, about a pianist, i’m not even talking about our best, well, yes, they don’t have a guitarist like we have, saxophonists, but there’s no guitar there, they have saxophonists, they have saxophonists chorotanism, brilliant, amazing , super, yes, and we played with them, at first we were worried, but when we played in st. petersburg we relaxed a little, so we played well, but yes, these are brilliant brilliant musicians. what can i do to play better than them, just practice a couple of hours more than them, rehearse, everyone, and it’s possible, we had interesting arrangements, that’s what concerns jazz, i really love jazz, i love it , i calm him down, i find it as a balance in myself, from a visual point of view, we are now people who have seen a lot, people have already seen a lot all over the world, they already need several senses to be included at once, jazz and ballet together. the ballerina stage began

, well, by the way, there is something like that, something like that something games some kind of garbage did also did someone did that some too. we had an attempt, we are not leaving it with boris eifman mefman to make one for jazz, he did it, he did it with gershin’s music, he really wanted to do it with gershin’s music, yes, and i wanted to, but first he wanted with my music , but it just didn’t work out for us , why, because the music that we recorded, it didn’t quite fit, didn’t quite fit with some, well, with dramaturgy , everything that was, i suggested. maybe it's natural to write some new music, but i haven’t gotten around to it yet, no, everything jazz is combined with everything, i myself am looking for new forms, because there’s a new viewer, he’s new, a new millennium has begun for us, well , here you are, we must understand that for 100 years of russian jazz

, today we have a huge audience now, especially in russia, we have a sufficient number of jazz musicians traveling around the country, performing in philharmonic societies, which i generally respect very much in some sense, because they are not afraid talk about it, they say that it’s you who sing everything in english, why don’t you sing in russian, this applies to everything, jazz, rock, this is how you feel about this

phenomenon in general, you’ve probably already encountered it, you haven’t encountered it, i’ve encountered it more than once, but i’m okay i’m not afraid, i’m not afraid of anything, again in non-english, in indian, i even heard it, in chinese , i’m in all different languages, i even make soviet programs, of course, from our songs, jazz arrangements, with playing we did just that too, and we will do it too repeatedly and will never stop, well , we had programs that we did , we sang our war songs, we made adaptations of them, we combined some, some american songs with russian ones, at the moment we...

caressed how we did this do we relate? now we have raised the topic, we have a positive attitude, this , this, this is great, so of course , we are looking, we have published a collection of jazz standards by russian composers, of course, we played the program of dunaevsky, and krylatov, and glotkov, and we play all these our compositions, which are a ray of golden sunshine , that we perform receive more applause than any jazz standard around the world, no matter where we play, in thailand. in india, in the united states of america, we can provide you with proof, can we have a new dunaevsky ? there are composers, we have composers here now, of course, maxim dunoevsky, now pop music

has also stopped being sung in english, well, our pop- music, no, but there are wonderful composers who compose with a colleague like with a vocalist. let me get tired, early girl, and i ’ll wash myself, yashbile, thank you, such a fina.

by the way, i suddenly had this question: i often sit on the jury at children’s competitions, yeah, and when children start singing jazz, they learn it. yeah, it’s clear that they teach it, they don’t feel it, maybe this feeling should come with age, in general , like a jazz school, that is, a child comes, he wants to win a competition, it ’s not like that everywhere and not always, not in every genre, here is the question for the new shift that will come will synthesize it, because for them it is technology, technique, but what can you say, when the real feeling of jazz comes, as i understand it, it may not come at all, you know? here we are again mixing two concepts: people have talent, they have a feeling, because when there is a competition, everyone

wants to win the competition, yeah, so if you have a competition, let’s say, a piano competition, you must learn everything well, that's right, then you win, you learned best, you interpret best, you win, jazz competition, children, mothers, fathers, teachers are afraid of losing, so they memorize it so that... they are not just a jazz interpretation of any kind of musical structure, but they learn it all by heart, and i’m with it i’m trying to fight, and to many talented girls who even sang with us, i say: improvise, you don’t need to be taught, she says: i learned improvisation, don’t, you can sing much better to you this, this passion of creativity in the moment of fulfillment will come to you, you will understand, you you know, you play the piano.

then no, then there was generally one composition , so they play, i look, he plays, well, the man plays, well, great, i think, wow, and then i say, and you play there, well , some jazz standard there, he starts playing and kurly, kurly, yeah, learned it, learned it, well, that is, jazz - it should be a continuous creativity, not only jazz, music, it’s creativity, it’s a constant life there, just when they really lead, there’s tatyana chernigovskaya, who says that children definitely need music, it develops, expands, of course. this and at the same time, in the new education, i mean , there could be this part, when in the new, i

mean in the new millennium, when they give children the opportunity in basic education to start experiments already there, of course, this is definitely necessary and jazz improvisation is not some kind of something out of the blue not yes, of course this is how we talk, we’ve set a topic, we start talking about it if we have enough, so to speak, well...

and we after half a year there we moved to a cheerful village in leningrad in a new area , such a sleeping area, she refused to go there and refused the words. and then later, and my father kept talking about jazz, benny goodman, charlie parker, gennady golshtein, joseph weinstein, these musicians then thundered to the fullest. leningrad , so these are the names, my teacher, whom i later became, gennady galshteino, he was all the time, he was a soviet legend, thank god, he is still alive, a legend of soviet jazz, an outstanding musician, arranger, composer, at that time moment played by aleg lunstrem, grandfather rosner, vadim ludvikovsky, and the joseph vaenstein orchestra, in general, you need to infect a child, yes, you need to infect, infect,

you need to infect with music, fight as a jazzman, you don’t have to be a brilliant musician. you can be just a good musician , you can be just a musician, you can be, any musician is a genius in his own way, 100 years of russian jazz were celebrated in october, now we will celebrate a little more in 2023, that’s a good thing, but there are the next 100 years ahead, what russian jazz is missing what to pay attention to at least the first 10 years, with the support that we receive and all creative industries in our country currently receive... we work quite closely in the field of education, and it’s not just us, there are camps in samara , plus tavrida is passing, of course, all this is going on, there is huge support, so we just need to work , we need it and now we all believe that there can be success, people see successful jazz musicians on television, oleg akuratov,

vadima linkrid, sergei there's a firebrand there, peter vostokov, guys in st. petersburg. well, i don’t know myself, for example, i consider myself a wealthy person, i don’t know how in general , well, wealthy, do you mean accomplished or from a financial point of view, i mean, we are now talking about that we are now talking about young people now young people are very demanding

about this, yes, that is, but if you, if you are in demand, accordingly , last year we officially had 170 concerts for me, practically for oleg the same thing, for the musicians of my orchestra and my our quintet, almost the same thing, well , we didn’t play for free, so we have financial stability, i’ll tell you that musicians, some earn very well, and this and this is not the limit, and there are our jazz musicians, well, we we also focus on the greatest musicians. for us, the same wynton marales , yes, so to speak, he is a musical and human idol as a public figure, he was one of the 25 most influential people in america, according to time magazine, well, that’s great, he plays music, if wynton marsales may be the most influential person in america, one of the most, why

a jazz musician in russia cannot be influential, but if you define your mission as a jazz musician. musician for the next century of jazz, well, i don’t have any mission , i just love, no, it can’t be like that, you have a mission, but i don’t think, i don’t sit, i don’t think, so what do i understand, mikhailovich, do it to the girl nice, tell me, tell me, what is your mission, i have a mission, i have a mission to make people happy, so that they want it, so that they are, so that they are, you you know, i say that if some things happen in the world, it means that somewhere we didn’t finish the job, somewhere we didn’t... we didn’t finish something, we left people dissatisfied with something, i remember how one wonderful jazz singer and pianist shirley horn sang in america, i was at a festival , performed there, then i sat and listened, she came out, well, such an elderly woman came out, played with white gloves, she sang and we all took the whole first row by the hands, it’s just not, well, there are people there,

we seemed to know someone there, on the right, on the left , everyone took hands, they listened, that’s it... that’s it some kind of divine musical revelation , but there was nothing, not anything bright, she just sang, this timbre, voice, everything together, this was wonderful, we want to do this so that people leave happy, with a smile, exchange impressions, dear friends, dear friends, on this optimistic note, unfortunately, unfortunately, we have to end our broadcast, today igor butman, people's artist, jazzman, and... akuratov, the star of modern russian jazz, without a doubt, i'm sure , were with us what's the best you can now what to do after this broadcast is to turn on oleg akuradov’s recordings, listen to him and igor’s orchestra. this is wonderful, elena kiper, we say goodbye to you, until new night broadcasts, happiness to you, ear, we wish

you happiness, happiness in this world, like the sun, here's jazz, as it is, if you frown, leave the house , if you're not happy, it's sunny. day, let the guy you meet, completely

unfamiliar with you, smile at you as if he were an acquaintance, and a smile, without a doubt, will suddenly touch your eyes. and your good mood will never leave you again, if you and your beloved are suddenly quarreled by chance , often the one who loves quarrels in vain, you look into each other’s eyes better, better than anyone else, the looks speak, a smile, without a doubt, will suddenly touch your eyes, and

the good mood will not leave more than you. if someone else was abandoned in misfortune,

this act penetrated your heart, remember how many good people there are, we have many more of them, remember them, and smile without a doubt. suddenly it touches your eyes, and a good mood will never leave you, and a good mood will never leave you again you. hello, dear friends, have a good mood, today on

the melody of my life podcast, my guest is the people's artist of russia, the legendary jazz guitarist alexey alekseevich kuznetsov. hello, uncle lyosh, it’s very nice to see you. good, good, good afternoon. i have great pleasure playing songs. to the accompaniment of alexey alekseevich, because he is a real guru of this genre, he manages to make a bad word with the accompaniment, he simply makes it so that you enjoy a very refined intelligent guitar. alexei alekseevich, with your whole destiny, probably musical, with your whole appearance, you show what a real gentleman of our russian jazz is, but of course, i can’t help but ask you about your family, about your dad, because you are offspring. and guitarist, how did you come to this instrument and love it for life? absolutely right, life passed before my eyes and what was connected with dad

was always at home. and the guitar and the look when dad got dressed before the concert, everything was smart, tuxedo, frag, and so on and so forth, therefore, what we see now is precisely the quartet of boris erimilovich tikhonov, which was based in the orchestra of yuri vasilyevich selantiev, in which my father worked, and rehearsals often took place at home, and i saw live how it was done, well, such a word is not very pleasant, who is the dad in this photo with a guitar, that's right, dad with a guitar. here, yes, next to us is boris remilovich tikhonov on the accordion, alexey ignatenko on the clarinet next to us and nikolay stratov on the double bass, also next to us. this is a famous quartet that was a huge success, and i saw it everything is live, so the guitar seemed to flow into me in advance, a long time ago, i was just thinking about how the chords are played, and how this hand strikes this accompaniment, because there is a lot of

the accompanying role of the guitar, uh. i saw it, i took it, it's very, i like it. alexey alekseevich, well, your life is inextricably linked with cinematography, with the cinematography orchestra, but now we, together with the light jazz team, will perform a song, we need to introduce the musicians who will help us on the drums today for you andrey nikonov, double bass igor kondur, accordion alexander faraonovich marterosov, well, your humble servant on vocals.

nikolai nikolaevich dobronravov, let ’s perform a song now, and then we’ll talk about you and the movie. so, don't be sad. where there are pine trees, where the home is, there is. with living water, don't be sad, don't say goodbye, everything is ahead of you and me, don't be sad, don't say goodbye, everything is ahead of you and me, let the cuckoo be silent again, we have no fate for her...

to say, you don't be sad, don't say goodbye, but come out to meet me, don't be sad, don't say goodbye, but come out to meet me, over the dawn is dear, the seas are full of blue light. don't be sad, don't say goodbye, because life was not invented in vain, don't be sad, don't say goodbye, because life was not invented in vain.

there will be joy, there will be sadness, you call out, i will look back. don't be sad, don't say goodbye, i 'll definitely come back, don't be sad, don't say goodbye, i'll be back soon.

oh, alexey alekseevich, i can’t help but admire you. your guitar techniques, as a guitarist sometimes i don’t even understand how this is possible, in each verse there are some different touches, you and alexander faraonovich are very they delicately made this work, but here’s the movie and alexey kuznetsov, it’s your guitar that sounds in everyone’s favorite film by tatyana, it just happened, i actually didn’t know about it, i just, well, it’s like... there’s work, a cinematography orchestra, every day we come and record something interesting for films, but then the bell rang and i was asked to come to migaila leonovich triverdiev’s house, he asked me to come to give me a guitar part, notes for scoring the film 17

moments of spring, here is that very fragment alexey alekseevich, yes, yes, yes, yes, this is mikal leonovich’s music, which was included in the credits. a piece of music where we hear the guitar of alexey kuznetsov, this is also a cruel romance, there was a cruel romance, yes, the gardamarines are ahead, i remember something, then so to speak, not only in this case

you can determine from the cinema, but from the composers the guitar sounds and edison denisov, sofia gabaidulina, andrey petrov, andria shpay, murat magomech. zhlaev, these were all composers who were in the cinema, i was always in contact with them in the creative field, and always some there was definitely a piece somewhere where there was definitely a solo guitar, and it’s all reflected in the work. and in your life there were both orchestras and small ensembles, that is, well , as an officially working guitarist, i first worked in the pop symphony orchestra yuri vasilyevich selantieva on the radio, this is 62 years old, seventy-four, something like that, then i worked in the orchestra . cinematography for the ninety-second year, these are two large teams and a little bit, the year was also connected with a large team under the direction of muslim magamaev, there was such an opportunity to take

participation, we have a photo of the rhythm section, which, quite rightly, is viktor borisovich dvoskin, the bass guitarist, but he is a double bass player and i’m next to him and there ’s viktor yaponeshnikov a little to the left at the top. i’m 19 years old with a guitar, with my dad’s breech , which was in the orchestra, and my dad is downstairs looking at the notes, he already has his own guitar, a migma, a white one, he brought it from germany, well, here’s a guitar, alexey alekseevich, this is your

main love in life, i wouldn’t even want to ask about any competition; it’s impossible to compete with it, such devotion in the guitar, we will gladly perform. with the team now a song by the composer gomaly based on orlov's poems. this piece was brilliantly performed by anna german and valentina tolkunova. i love this song very much and am proud that we did something so delicate with great love for the performers and the authors of this song, reading the work “city of people in love.” for you in the podcast melodies of my life.

there is on a distant planet, a city of people in love, stars. for them they shine in a special way, the sky for them is doves, white walls over the sea, white peace, comfort, people don't quarrel, people don't argue, people sing to each other, let it be. and let's be silent, everything

will pass and melt away, the anger and sadness will go away, let's sit, be silent, no words are needed, we are to blame, but love is right, if you see that city. you will immediately forgive insults, you will not offend me with a vain word, you will not offend me with a quarrel , let the light of the white city shine on us forever, let them say that on our planet... this city

does not exist, let’s sit, be silent, everything will pass by itself, and the anger and sadness will melt away leaves, let's sit, be silent, no words are needed, it's our fault, but love is right, let's sit and be silent, i need words, we are to blame, and love is right. there is this city

of people in love on earth, we continue our podcast melody of my life, my name is valery syutkin, our guest today. you can watch all episodes, including today’s, on the website of the first channel 1tv.ru. well, we continue to watch alexey alekseevich’s family album together. oh, what an interesting photo. oh, you know what, this will be completely new for some, because before, a football match was played with the sound of a live orchestra.

yes, live music, it's great, amazing , this is a document, as they say, a photographic document of that time, thank you, very interesting facts, oh, this is a very important photograph, i would say so, this is a cafe, a blue bird, i associate this with myself with the 1965 festival in moscow , a jazz festival, this composition, in this case, which here is malaya dmitrovka, corner, formerly chekhov street bylittsa,

yes, the history is like this, look at the teaching staff, i would say so, in the center , this is titus pauls from estonia, a wonderful guitarist, he is alive, god willing health. as they say, next to my right, it’s like stanislav koshirin from yaroslavl, he is also alive and god bless him too, and i’m on the left, this is a trio of guitars that very often played together, that is, this is a predictor of my program, guitar forms, they were already slowly gathering, this one

, this one, this communication between guitarists of the guitar world, the jazz guitar world in our country in soviet times - alexey alekseevich, you, as an absolute master of accompaniment, i know, have done a whole series of works that help young guitarists master the instrument , based on your wonderful motto, alexey alekseevich has a motto, so as not to say too much, in short, this motto is so far, this is so for now, restraint and a call to the fact that it is not necessary to play a lot of notes, the main thing is to do it with taste and. .. accuracy , accuracy is needed, how much guitar is needed in this piece, i can say, without relying now on documents or some of our photos, it’s just that the accompanying guitar was clear to me from the very beginning, i had to be able to do it because alone

from the recordings i'm talking about jazz recordings, which i heard on the radio, it showed that the guitarists knew how to accompany and solo. and also play percussion, strike various percussion sounds on the fretboard, and such half-closed strings and so on, i took all this into my arsenal and still use it, because this is important, a guitarist must be able to solo, and accompany, and make percussion sounds when possible, but i still consider myself 75% an accompanist, this is for me...

nikonov drums, igor kondur, double bass and alexander faraunovich martirosov on the accordion, we will be happy to perform for you a song written on a creative trip by composer jan frenkel and poet mikhail tanich. by the way, taking this opportunity, this year mikhail isaich marks the 100th anniversary of his birth. mikhail tanich is a poet who wrote to our people, that is, to you and me. this is very clearly illustrated by the song, well, what can i tell you about saccharin? well, what can i tell you about sakhalin?

i’m sending it to you to yakemanka, and the mail, with transfers, flies from the mainland, all the way to the distant harbor of the union, where i throw pebbles from a steep bank, the distant laperrosa strait, where i throw pebbles from a steep bank, distant. la perouse strait, in the land where waves and winds argue. there live laconic men about the islands, as if sinirat

is returning to russia from putin, and the mail, and the mail, with transfers, flies from the mainland, to the farthest galley of the union, where i throw pebbles from a steep bank, far away. along the la perouse strait, where i throw stones from the steep bank of the distant la perouse strait. and mail, with transfers, flies from the mainland to

the farthest harbor of the union, where i throw pebbles from the steep bank, the distant laperosa strait, where i throw pebbles from the steep bank, the distant labiru strait. guza, what can i tell you about sakhalin, what can i tell you about sakhalin? this is the melody of my life podcast, i’m valery syutkin, today my guest is people’s artist of russia, legendary jazz guitarist

alexey kuznetsov. alexey alekseevich, thank you for the pleasure of performing music together, i am pleased to once again ask your attention, turn to the screen, comment on this photo. yes, well, this is my long-standing, so to speak, musical friendship with. nikolai gromin, my constant partner, with whom i played duet guitars. we have recorded a record, django, we have a record written 10 years later, and many different records, nikolai, it’s just a guitar in jazz, in practice, and my idea, which appeared during our, so to speak, connection, was to make such a small document, printed, if you can call it, from practice. jazz guitarist, i worked on him, came up with something, he is, as such his can be found, but playing two guitars is

a wonderful resource, these are two orchestras that are intertwined, at first nikolai was a soloist at the very beginning, and i was only an accompanionist, then we crossed paths, as it should, when we met and began to work out all this, i apologize for a word, in the kitchen, just polishing at...

there was a compositional moment, yes, it was the year sixty-eight, in the sixty-seventh year, the year before, i also played in a trio with anatoly sobolev and igor levin, there was also the author’s, catchy blues toys, he also now being played in my program and so on, this is our trio from 1968, the next photo, this, and this is the same thing, yes a repetition, only different angles, and a different angle too, 1968 , jazz 68, guitar i have it here.

cinematography, wonderful friendship, i have already mentioned the collaboration with the composer murad magometovich kozhlaev, here he is, as it were , conducting us, enchanted andrei chernashov, orchestra soloist, alexey splotovsky on the bass guitar, unfortunately the pianist igor nazoruk is not visible here, he is next to us here, and i’m in the middle, this is already with gibson, this is already 73 years old, somewhere, this is a commonwealth, it has passed through many years and still... remains, and we are always connected with murat magomech. alexey alekseevich, talking with you is a pleasure. you know, your intelligence, it is heard in the music, only you can help in this way, open up to the vocalists. in any case, if it weren’t for you, i definitely wouldn’t have touched the heritage of the 50s and 60s, i think it would have been, well, you know how sometimes they do it

well, but still, it’s a restaurant. exactly thanks to you, this is art, because, uh , a completely different musical mood , it’s in my confidential sip, that’s what i call my temor, it resonated, there’s some kind of chemistry, so you’re an absolute wizard of your favorite thing, i don’t even want to say the word craft, but simply a favorite thing, because your life is a dream come true, have you dreamed of being a guitarist? and became and are a guitarist with a very large capital letter, a real wizard of the guitar, people's artist of russia alexey alekseevich kuznetsov was a guest of our podcast melody of my life, thank you, dear tv viewers, you can see all podcasts on the website of the first channel 1tv.ru,

alexey alekseevich kuznetsov, valery syutkin and light jazz. thank you. i’m just working as a magician, eduard kolmanovsky to ashanin’s poems, goodbye, see you again, i’m flying to different lands. who knows where we will be tomorrow, i bring rain to the desert, i distribute the sun to good people, why, my friend , because i didn’t learn life from textbooks, i just work, i just work

as a wizard, a wizard. you're walking, you're walking january, it’s cold, the tracks are like dots , if you want, i’ll talk to you, give you my hand and the path will become shorter, why, my friend, because i didn’t learn life from textbooks, i’m just... i’m just working as a wizard, a wizard, don’t be sorry nothing for a friend, think about others a little too, this is my simple magic,

maybe you can help me with it? and why, my friend, because i didn’t learn life from textbooks, i just work, i just work as a wizard, a wizard. why buddy? yes, because i didn’t learn life from a textbook, i just work, it’s just me i work as a wizard, a magician.

hello, i am pilot cosmonaut anton shkaplerov, this is a space history podcast. today my guest is alexander serdyuk, senior trainer and teacher of physical training at the cosmonaut training center. sasha, hello, hi anton, i know that you didn’t start your coaching career at the cosmonaut training center, how did you even come to us at the cosmonaut training center? yes, that's right, i'm my trainer.

from the point of view of physical training from the point of view of physical training selection for the squad cosmonauts happens like probably all selections for some specialized professions where physical training plays an important role, you need to naturally select the most dexterous and strong, by the way, you are quite dexterous and you didn’t try to submit documents with anya then no, in fact , then everything was a little even fabulous. and just didn’t even believe? now sometimes i don’t quite believe that this is happening, well , the first selection, as you remember, it was

unexpected, let’s say, for the first recruitment we opened in 2012, but for the first time we there was an open enrollment, where anyone who actually fits certain requirements could submit an application to try to join the cosmon corps. yes, then all our attention was focused on submitting anya’s documents and organizing her admission, and it happened, it’s very, well , tell me, these are the requirements, what exercises a future candidate for the cosmonaut corps needs, a candidate for cosmonaut needs to be able to run, jump, swim, how far to run, you need to be able to run. shuttle running 10 by 10 shuttle is 10 m 10 m 10 times without stopping with a change of direction and of course everything is done using a stopwatch and you also need to be able to run a 1 km distance in the shortest

time, of course, do you remember what digital indicators someone might be thinking about right now or preparing for the next selection , the digital indicators are actually not quite cosmic. olympic, yes, yes, yes, they are olympic, you can run a kilometer in 3 minutes, 20 seconds and a kilometer of 3.20 will be a passing grade, yes, of course, everyone in in all exercises, in pull -ups, in swimming, he must show his best side, because the selection still occurs among those, well, stretching is clear, the number of times, yes, yes, of course, the number of times, 12 or more, 12 or more, yes, we have swimming. at 800 m this is one of the stages, and you also need to swim it in no more than 20 minutes, and if you don’t know how to swim, if you don’t know how to swim, then unfortunately.