Uma modalidade delirante de jornalismo
A coisa mais delirante que se viu durante a marcha do último dia 8 de novembro, o 8N, foi a atuação da “repórter” Cynthia García, do programa “6,7,8”. Como já se sabe, essa atração da TV Pública, paga com impostos dos cidadãos argentinos, destina-se a criticar, atacar e avacalhar a cobertura política dos meios opositores ao governo, em especial o “Clarín”. Além disso, é a voz do governo na TV estatal, ali são adiantadas políticas e anúncios de governo, são lançadas tendências da gestão.
Pois no dia da marcha anti-kirchnerista, o “6,7,8” se armou e mandou sua soldada Cynthia García às ruas. Sua função era ouvir os manifestantes. Não. Na verdade, Cynthia não ouviu ninguém, atropelou as respostas, contestou as informações que vinham da multidão, humilhou seus entrevistados e quase comprou brigas de verdade.
Primeiro, García enfrenta um grupo de garotos que pergunta porque seu dinheiro vai parar nos bolsos de Cristina. García contesta dizendo que não é assim, que os impostos vão para a população menos favorecida. Eles riem, um deles tenta perguntar se ela não tem vergonha de negar a insegurança. García diz que não há insegurança na Argentina e que o índice de delito de Buenos Aires é menor que o de Nova York. “Qualquer cidade grande do mundo tem índice de delito”, resumiu. Os meninos se enchem e lhe dão as costas.
Depois conversa com um casal que reclama também da insegurança. García pergunta: “Como se soluciona o problema da insegurança? Que projeto político resolve o problema da insegurança?”, dizia, como se os cidadãos tivessem a obrigação de conhecer questões administrativas que devem ser tomadas para resolver o problema.
Depois, topa com um senhor que carrega um cartaz contra “os corruptos”. Ele diz: “todos aqui querem que essa gente se vá, são ladrões, têm de ir pra cadeia”. García tenta negar o enriquecimento ilícito da presidente. “Seus dados não estão certos”, balbuceia. Depois, enfrenta um outro senhor, mais aguerrido, que lhe pergunta se tem de agradecer à presidente por ter trabalho. O clima esquenta. Um outro rapaz diz que não entende porque tem de “ter medo da presidente” [frase que ela mesma pronunciou em cadeia nacional]. García responde que a frase não era exatamente essa e que estava fora do contexto. Riem dela, que se põe mais agressiva.
Os entrevistados foram entrando no desafio e acusaram a jornalista de ganhar um salário 3 vezes mais alto do que o de um jornalista comum por prestar-se a esse papel. As altercações vão ficando mais comuns.
Num outro momento, ela enfrenta uma moça que está com dificuldades de comprar remédios para a mãe com câncer devido às restrições às importações de Moreno. García minimiza seu problema: “Você acha que esse problema pontual seu está representado nessa marcha?”.
Nos dias seguintes, Garcia teve seus 15 minutos de fama. Foi entrevistada pelos meios, defendeu seu trabalho dizendo que estava “desmontando clichês”. Em nenhum lugar do mundo trabalho tão tosco e irresponsável, além de desrespeitoso e anti-democrático, poderia ser chamado de jornalismo. Na Argentina dos tempos de kirchnerismo, infelizmente, é assim. Dá vontade de rir ver a atuação de Cynthia. Ao nos lembrarmos que ela o faz em nome dessa profissão, usando dinheiro de impostos e tempo da TV pública nacional, o riso dá lugar à depressão.
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a memoir of fashion dreamer’s life in vogue
Lady Griz hand Selvig 800th career win with 68 61 victory over PortlandGriz up to fifth in TSN poll, highest ranking of seasonBig Sky honors Sac State QB SafronNorth Dakota football coach firedSince 1897, the Cat Griz rivalry has captivated the stateFamily health: Prepare yourself and your vehicle for winter drivingFitness calendarBirths for Tuesday, November 19Angler with 4th place total takes Fall Mack Days fishing tournament titleWestern Montana hunters get help from fresh snow, rutIf the name Grace Coddington is familiar, you’ve probably seen the 2009 documentary film “The September Issue” about Vogue magazine’s Editor in Chief Anna Wintour, the most feared and revered woman in fashion. Now Coddington, the longtime creative director of Vogue, has her own star vehicle, an engaging memoir titled “Grace,” co written with Michael Roberts. For anyone with a passing interest in the fashion industry, it’s worth a read for the name dropping alone.As became clear in the film, which chronicled the magazine’s staff as they put together the 4 pound September 2007 issue, Coddington is not the Anna Wintour or Diana Vreeland type. You won’t hear her barking orders at assistants or making dramatic pronouncements about pink.But she is equally passionate, a wild haired dreamer who thinks that fashion should be transporting, provocative and even intellectual, who bemoans the dominance of celebrities and digital hocus pocus in fashion photography and who isn’t afraid to take on Wintour.The book is a window into how fashion has changed from a small, niche business into a global pop culture medium. It chronicles Coddington’s 50 years in the industry, first as a model, then as a fashion editor for British Vogue and finally as creative director for American Vogue, with lots of juicy anecdotes about designers, photographers, celebrities and models.She compares the fashion world then and now and offers clues into her relationship with Wintour. She’s also open about her private life, including details about failed marriages, the tragic death of her sister Rosemary and her 30 year romance with French hairstylist Didier Malige. She tells colorful stories behind many of the fashion shoots she has styled, but I do wish she had offered more insight into her role in the creative process.Coddington begins by painting a picture of her upbringing as romantic as any photo shoot. For her first 18 years, her home was the Trearddur Bay Hotel on the island of Anglesey off the coast of North Wales. “Although it was bleak, I saw beauty in the bleakness.” When she wasn’t outdoors, she amused herself by looking at picture books, reading fairy tales and, yes, studying the pages of Vogue magazine. As a teen, she went to a convent school and has vivid memories of the nuns roller skating on the rooftop, “flapping about surreally in their robes like crows on wheels.”At 18, she moved to London to attend a modeling course advertised in Vogue. The fashion world was much different in 1959. Coddington had to learn how to apply her own makeup and style her own hair, because makeup artists and hairdressers specializing in photo shoots were nonexistent. A meeting with photographer Norman Parkinson led to her first modeling job running naked through the woods for an arty fashion catalog.Coddington became an overnight success. “I was a character, rather than a pretty model, and I suppose that’s exactly what I look for in the girls I now select to put in American Vogue the ones who are quirky looking.”She earned the nickname “The Cod” (to Jean Shrimpton’s “The Shrimp”), danced the twist on Mary Quant’s catwalk and became a muse to Vidal Sassoon, who created his famous five point cut on Coddington. Her modeling career was derailed for two years by a car accident, which scarred her left eyelid. But eventually things picked up again, and she settled into life in 1960s swinging London and Paris, hanging out with a fast crowd that included Michael Caine, Jane Birkin, the Beatles and the Rolling Stones.Her fashion editing career coincided with the beginning of her relationship with Michael Chow and the opening of his glamorous restaurant Mr. Chow, which attracted a starry crowd. “Naturally, we were forever being photographed at home, draped among our symbols of ‘with it ness’ as one of London’s most happening couples; him, the cool young restaurateur, nonchalantly swinging in a hammock hung from the minstrel’s gallery and me, the sophisticated style maker, perkily sitting cross legged atop a giant pop art version of a Campbell’s soup can.”At the height of the bohemian 1970s, she dyed her hair with henna and permed it (it would stay the same for much of the next 40 years), dressed almost exclusively in Yves Saint Laurent, had a fling with a Vietnamese photographer and spent her evenings at Club Sept in Paris. Coddington worked with the who’s who of fashion. She shot Anjelica Huston with photographer David Bailey and Pat Cleveland with Helmut Newton.When Bea Miller, who had edited British Vogue for 22 years, retired, Coddington interviewed for the job but says she knew deep down she wasn’t suited for it and thought that Wintour, then the creative director of American Vogue, should get it.Wintour did get it. Two days into her editorship, she invited Coddington to a screening of the racy film “Betty Blue.” The two sat in dead silence through the opening sequence, a vivid five minute sex scene.”Anna was rigid and unmoving. No sign of any emotion at all,” Coddington writes. “I then realized how much significance Anna places on willpower trumping feelings.”In 1988, when Wintour was appointed editor in chief at American Vogue, Coddington asked to join her. Coddington’s narrative style fashion features and travelogues, a sampling of which appear in the book, became the heart and soul of the magazine, even as its pages became increasingly taken over by celebrities. Through her visual canvases, she interpreted the New Romantic period, grunge and the South Beach blinged out 1990s, and persuaded superstar designers Tom Ford, Marc Jacobs and others to play roles in a shoot based on “Alice in Wonderland.”She sums up her creative process this way: “For me, one of the most important aspects of my work is to give people something to dream about, just as I used to dream all those years ago as a child looking at beautiful photographs.”The book ends with a chapter on then and now. “Fashion has changed so much in my lifetime,” Coddington writes. “Today, I find myself at the collections, asking, ‘Who are all these people?’ Sometimes I think I’m the last remaining person who comes to the shows for the pleasure of seeing the clothes.”At 71, she seldom wears makeup and doesn’t socialize much. But her attempt in the last 100 pages to distance herself from the term “fashionista” is a bit of a stretch. Clearly, Coddington has led a most charmed life. Otherwise, we wouldn’t be reading about it.We provide this community forum for readers to exchange ideas and opinions on the news of the day. Passionate views, pointed criticism and critical thinking are welcome. Comments can only be submitted by registered users. By posting comments on our site, you are agreeing to the following terms:
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3:12 Brooklyn starts to come back, and with the Nets down 90 87, George Hill dribbles the ball from 20 seconds on the clock down to 13 and follows this up with a running floater through the lane. If it goes in, Hill looks like a genius, but since he missed, I should point out that Brooklyn is fighting their way back into this game and Paul George hasn shot the ball since the 7:26 mark in the quarter.
It okay Indiana Pacers, with a 96 91 victory over the Nets and a now historic start for the franchise, I got your back. I catching up on the DVR from the beginning of the second half to take some notes in retro diary form (with 100% of the idea credit going to Grantland Bill Simmons of course) to see how we in fact got to this point. To start the third quarter, Brooklyn would be leading the way 46 44, with the only difference between the two teams seemingly being the fact that Brooklyn bench outscored the Pacers bench 16 6. And we start NOW!
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5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
6:00 Paul Pierce is doing everything he can to keep this Brooklyn team in the game, but his teammates can help him out a lick. I would feel bad, but this is the same guy who tore up the Lakers in the NBA Finals after looking like this:
5:47 A graphic just flashed that Paul George is the first Indiana Pacer to start the season with seven straight 20 plus point games since Clark Kellogg in the 1985 86 season. I would be very interested to know what the odds are of him winning an MVP award before Andrew Luck does with the Colts.
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