GROUCHO MARX

EL GRAN HERMANO

Groucho Marx, que nació Julius pero se fue del mundo inmortalizado con el nombre de su personaje fue, sin dudas, la estrella del grupo cómico Los Hermanos Marx. El hombre del bigote pintado y del habano humeante no sólo fue un comediante revolucionario: también fue un crítico sagaz de la realidad, un fino pensador y un precursor dentro del teatro, el cine y la TV. Díscolo, irreverente y genial, el gran Groucho logró lo que únicamente consiguen los artistas grandes: trascender su propia muerte gracias a la enormidad de su obra.

Biografías

GROUCHO MARX

EL GRAN HERMANO

Groucho Marx, que nació Julius pero se fue del mundo inmortalizado con el nombre de su personaje fue, sin dudas, la estrella del grupo cómico Los Hermanos Marx. El hombre del bigote pintado y del habano humeante no sólo fue un comediante revolucionario: también fue un crítico sagaz de la realidad, un fino pensador y un precursor dentro del teatro, el cine y la TV. Díscolo, irreverente y genial, el gran Groucho logró lo que únicamente consiguen los artistas grandes: trascender su propia muerte gracias a la enormidad de su obra.

Una anécdota enseña el temperamento de Groucho Marx, el más popular de Los Hermanos Marx. En 1971 concedió una entrevista a quienes, él creía, eran dos periodistas de la Esquire Magazine. El viejo cómico, gastado por los años y la ajetreada vida de artista, estaba confundido. Los dos jóvenes que lo interrogaban, de cabellos largos y barbas hippies, representaban al Berkeley Barb, un periódico intelectual de la Bahía de San Francisco. Mentiroso asumido y dueño de una inagotable e ingeniosa habilidad para insultar al prójimo, Julius Henry Marx, su verdadero nombre, había pasado su vida diciendo y desdiciéndose; inventando declaraciones jugosas para los medios; confundiendo a sus hijos, Melinda y Arthur, con órdenes y contraórdenes y enloqueciendo a sus esposas con su extraña manía de economizar y despilfarrar su bien habida fortuna. Y como buen mentiroso, Groucho solía abrir la boca para decir cualquier cosa. Interrogado sobre los políticos de aquella época, el cómico soltó con ligereza: “Creo que la única esperanza para este país es que asesinen a Nixon”. La sentencia se propagó como un rayo por las agencias de noticias y las redacciones de los diarios: en los Estados Unidos, una opinión de ese calibre –y aún más en esa época– se consideraba un delito.

El New York Times, y las revistas Time y Newsweek reprodujeron el reportaje. Cuando ya era demasiado tarde para arrepentirse, el anciano Groucho volvió a reír y, sin disculparse, esbozó una explicación que retrataba, como una radiografía, su modo de ver las cosas: “Niego todo porque nunca digo la verdad. Miento en todo lo que digo y hago: sobre hombres, mujeres y representantes de cualquier otro sexo”. Estas razones, sin embargo, no contentaron al FBI y mucho menos al históricamente denostado Richard Nixon. La entidad abrió un expediente –el CO 1297 009205– contra el artista, intervino su teléfono particular y lo observó durante largo tiempo, por considerarlo un conspirador y una amenaza potencial contra la vida del entonces primer mandatario. Sospechado de ser “simpatizante del comunismo” –acusación que también sufrió Charles Chaplin y que le valió la expulsión de los Estados Unidos–, por haberse visto relacionado con miembros del partido en actos y eventos públicos, Marx pasó a engrosar la lista de los enemigos públicos, a la que los sabuesos del FBI le olían los talones con fruición y avidez de espías. “¿Qué puede esperarse de un presidente que carece de sentido del humor?”, se preguntó Groucho. La ironía jugó con su apellido y lo transformó en un “marxista”. Sin embargo, la historia y el escándalo Watergate se encargaron de ofrecerle una muda pero concretísima respuesta.

UNA FAMILIA NORMAL

La madre de Groucho, Minnie Schoenberg, una inmigrante alemana que hablaba muy poco inglés, llegó a los Estados Unidos a fines del siglo XIX, a los 15 años, y se empleó en una fábrica de sombreros de paja en el East Side de Manhattan. Sam Marx, el padre de los hermanos Marx, era alsaciano y también apenas hablaba inglés cuando llegó a Norteamérica huyendo del Ejército Francés. Urgido por la necesidad, fue instructor en una academia de danzas, justo al lado de la fábrica en la que Minnie se afanaba con los sombreros. Se conocieron y tuvieron citas silenciosas y a media lengua caminando junto a la orilla iluminada del río Hudson. Finalmente se casaron. El matrimonio alquiló un pequeñísimo apartamento en la East 92nd Street y allí abrieron una sastrería. Frenchie, el jefe de la familia, se convirtió, por azar o por necesidad, en sastre. De sastre vivía y desastres hacía, según relataba Groucho, cuando recordaba que era posible reconocer a los clientes de su padre porque las piernas de los pantalones que fabricaba eran totalmente asimétricas. Es que Sam no creía en los centímetros ni las medidas, y prefería medir con los ojos a los pobres incautos que requerían sus servicios. Además de intentar sobrevivir con unos pocos dólares a la semana el matrimonio se dedicó a procrear: seis niños engendraron y sobrevivieron cinco. Leonard (Chico), nació en 1887; Arthur (Harpo), en 1888; Julius (Groucho), en 1890; Milton (Gummo), en 1897 y Herbert (Zeppo), en 1901. Groucho recordaba su pasado: “La casa era pequeña. Quedaba en la calle 78 y Avenida Lexington, una zona buena de New York. Mi padre tenía un taller de sastrería al frente. No ganaba mucho. Eramos judíos. Ahí nací yo el 2 de octubre de 1890. Mi madre llevaba el teatro en la sangre; su padre había sido mago en Alemania. Ella lo acompañaba en sus giras, tocando el arpa. Un hermano de ella era Al Sheean, integrante del famoso dúo de vodevil Gallagher y Sheean. Fue por mi madre que nosotros entramos en el mundo del espectáculo. Ahorró el poco dinero que tenía para que Chico, el mayor de todos los hermanos, recibiera lecciones de piano. A Harpo le dio 40 dólares para que se comprara un arpa. Ella misma le enseñó a tocar. De mí decía siempre que era muy feo, que tenía cualidades de bufón y una voz aceptable. Mi verdadero nombre es Julius Henry Marx. Pero como siempre estaba enojado, me bautizaron Groucho”. Minnie, Sam y los cinco niños, más algunos familiares que iban y venían por el pequeño apartamento, conformaron pronto una familia peculiar. Los pequeños, como una manada de cachorros juguetones, despuntaron tempranamente sus talentos histriónicos. Lo que comenzó como un juego –menos para Minnie, que de tanto transitar las tablas parecía decidida a acompañar a sus hijos hacia ese destino– con los dedos de Harpo niño (el futuro mudo del quinteto), rasgando y enredándose entre las cuerdas del arpa que le daría nombre y fama; con Groucho, feo y bufón, aprendiendo a tocar el piano de oído porque sólo había dinero (25 centavos por semana) para que Chico tomara lecciones, y con los demás hermanitos, Gummo y Zeppo, corriéndose entre los apiñados muebles del ínfimo apartamento, terminaría en un éxito mundial, eterno y mítico. Los cinco hermanos estaban destinados, sin saberlo, a provocar carcajadas al mundo hasta que éste se muriera, estallara de la risa.

DEL VODEVIL AL MUNDO

Todo comenzó con el vodevil. Los hermanos Marx llegaron a Broadway a principios de 1920. El antecedente del grupo estaba enraizado en teatros pequeños, para audiencias reducidas. Los cuatro hermanos Marx (Harpo, Groucho, Chico y Gummo, que luego sería reemplazado por Zeppo, hasta su retiro), tal el nombre primigenio que los presentaba en las tablas, habían cosechado una fama creciente ofreciendo varietés que incluían canto, baile, pasos de comedia y toda clase de instrumentos musicales. Pero fue el humor extraño, novedoso y rupturista lo que los transformaría en un verdadero suceso. En Broadway, la Meca del teatro americano, alcanzaron el éxito masivo con las obras I’ll say she is (1923-1925), The Cocoanuts (1925-1928) y Animal crackers (1928-1929). Luego llegaría el cine. Primero fue una película perdida, independiente, realizada en New York y New Jersey con fondos privados. Esa comedia nunca fue proyectada. Después, el contrato con la Paramount. La enorme compañía, que buscaba “nuevos talentos” para el cine sonoro, cayó seducida por el estrafalario estilo de los Marx –iconoclasta, burlón y asombrosamente absurdo– y tentó al grupo, en medio de su éxito en la calle de los teatros, con un contrato por cinco películas. De este trato nacerían las versiones cinematográficas de The Cocoanuts (1929) y Animal Crackers (1930), filmadas en el estudio de sonido de la Paramount, Astoria. Aún cuando el desarrollo del audio en el cine no era el ideal, los hermanos se valieron de sus ya definidos perfiles, gags y bufonadas para atrapar al público. Por aquellos tiempos, el grupo contó con algunas colaboraciones –en Una noche en la Opera, de 1935, y En el circo, de 1939– del inigualable Buster Keaton quien, retirado de las pantallas, pasó la década de 1930 escribiendo guiones para la Metro Goldwyn Meyer. Pronto, cada uno de los hermanos Marx pasó a ser un reconocible personaje para las grandes masas que buscaban, en épocas de guerra y crisis económicas, una distracción para sus preocupaciones. Groucho, con su bigote falso, era el inescrupuloso trepador, desalmado, que cantaba, insultaba y jugaba con las palabras, hasta desconcertar con la inteligencia de sus reflexiones. Chico, el pianista (bautizado así por su afición a las chicas, chicks), llevaba un sombrero extraño, vestía con desaliño y hablaba con un exagerado acento italiano. Harpo, el hermano “mudo”, tocaba el arpa con maestría y jamás, en toda la historia del grupo, se lo escuchó pronunciar una palabra en escena. Con gestos ampulosos, una peluca roja y remiendos en su ropa, Harpo era aniñado y tierno. Finalmente, Zeppo encarnaba al más meditabundo al más triste de los hermanos-personajes, al que casi nunca conseguía conquistar a las señoritas. Tras varias películas, todas reconocidas por el público, llegaría una de sus más aclamadas obras, Sopa de ganso (1933). Esta pieza maestra del humor satirizaba hasta el espasmo las políticas de guerra. Groucho encarnaba allí al demente primer mandatario de Freedonia, y junto a sus hermanos parodiaba las ineptitudes y ridiculeces que cometen los políticos en el poder. Tras este éxito, la Paramount decidió romper relaciones con el grupo. Los ahora tres hermanos Groucho, Chico y Harpo (luego de que Zeppo decidiera dedicarse a ser agente teatral) fueron acogidos por el glamoroso estudio Metro Goldwyn Mayer y se convirtieron en los protegidos de Irving Thalberg, jefe de producción de la compañía. Adaptando el estilo de los Marx al estudio, y con el fin de aumentar su popularidad, Thalberg les dio una vuelta de tuerca a los guiones de las historias, volviendo más simpático al trío y dejando a un lado –al menos un poco– el espíritu destructivo y mordaz que los caracterizaba. Con estas medidas y una enorme producción detrás se lanzaron varios filmes, entre ellos dos de los más reconocidos de la época: Una noche en la Opera (1935), y Un día en las carreras (1937). Tras la muerte de su protector, cambios de estudios y rumores de separación, hacia 1946, en pleno fin de la guerra, Los Hermanos Marx filmaron la memorable Una noche en Casablanca. A partir de allí, Chico, Groucho y Harpo tomarían rumbos diferentes en TV, cine y radio. Cada uno de ellos apareció en la pantalla grande algunas veces más, sin volver a alcanzar el éxito pretérito. Jamás volvieron a actuar juntos.

MAXIMAS DE UN HOMBRE UNICO

El celebérrimo Groucho basó su fama en su continuo parloteo; siempre parecía estar listo para dejar salir una cascada de jugueteos lingüísticos capaces de dejar estático al más ágil de los espectadores. Su personaje y su identidad fueron creadas a partir de “ensayo y error”. Según él mismo reconoció, “iba probando cosas en las variedades de poca monta. Y si daban resultado, las conservaba”. Así nació el bigote más famoso del mundo: en cierta ocasión, Groucho llegó tarde a escena y como el tiempo no le alcanzaba para pegarse el postizo que utilizaba, se lo pintó con pintura grasa. Otro pilar de su popularidad fueron sus “máximas”. Si Epicuro escribió las Máximas para una vida feliz, en una época en la que la autoayuda siquiera era una amenaza, entonces Groucho fue el responsable –involuntario, pues es poco probable que hubiera deseado hacerle ese favor a la humanidad– de un sinnúmero de sentencias que muy bien podrían agruparse bajo el título de Máximas para la supervivencia en el siglo XX. En un tiempo en que la TV comenzaba a adueñarse de las masas, la radio peleaba cuerpo a cuerpo por la atención en un terreno cada vez más pantanoso, y las guerras entretejían un presente y un futuro enrarecidos, Groucho pensaba y declaraba, no siempre en el mismo orden, sus tremendas e hilarantes opiniones.

Amigo personal del poeta T.S. Elliot –ferviente fanático del cómico, que insistió por carta hasta que recibió una foto autografiada por Groucho, con falso mostacho y habano encendido–, el más famoso de los Marx se hizo un sitio en la cultura popular,  reflexionando, por ejemplo: “La televisión es ciertamente muy educativa. Cuando alguien enciende un televisor me voy a otra habitación a leer un libro”; “He disfrutado mucho de esta obra de teatro… especialmente en el descanso”; “¿Por qué lo llaman amor cuando quieren decir sexo?”; “La política es el arte de buscar problemas, encontrarlos, hacer un diagnóstico falso y aplicar después los remedios equivocados”; “La humanidad, partiendo de la nada y con su sólo esfuerzo, ha llegado a alcanzar las más altas cotas de la miseria”. “Perdonen que no me levante” es la frase que reza el terco epitafio del gran Groucho Marx. Cuando recibió el Premio Oscar honorífico, aseguró que creía en la reencarnación, y esbozó su deseo: “En mi próxima existencia me gustaría venir al mundo con la brillante inteligencia de Kissinger, la fabulosa apostura de Steve McQueen, y el indestructible hígado de Dean Martin”. La muerte se lo llevó el 19 de agosto de 1977, a los 86 años. Lo lloraron sus esposas y sus hijos. Lo velaron y sobre su cuerpo aún tibio pelearon por la herencia y el dinero que el cómico había ganado durante su vida. Groucho Marx, burlándose aún desde el más allá umbrío, dejó un legado indeleble de 18 filmes y esas sentencias que lo inmortalizaron como un pensador filoso y cínico. Como aquella que urdió cuando se le negaba la admisión a un exclusivo club, por su ascendencia judía: “Jamás aceptaría pertenecer a un club que admitiera como socio a alguien como yo”.

 

GROUCHO SEGUN GROUCHO

Hillcrest Drive 1083. Beverly Hills se estira bajo el sol plácido de la tarde californiana. Dos periodistas hacen guardia frente a una preciosa mansión, típica de las colinas más famosas del mundo. Las puertas están cerradas. Ellos aguardan. Esperan a Groucho Marx y la oportunidad única de conversar con una verdadera estrella de todos los tiempos. A las cuatro de la tarde las puertas macizas se abren de par en par. Irene Fleming, secretaria y última pareja del cómico, les permite pasar como si se tratara de viejos amigos. La sala, enorme, de espesas alfombras, silencia el paso de la pequeña comitiva. Groucho, a sus 84 años, sentado de espaldas, encorvado y ligero como un pájaro, los aguarda. Estas son algunas de las frases más destacadas del histórico reportaje. Sobre los cómicos: “En primer lugar me enloquece Groucho Marx. Creo que fue un gran innovador. Por eso estoy enamorado de él. Después me gustan W. C. Fields, Chaplin, Buster Keaton. Mae West, Woody Allen y Jacques Tatí, Peter Sellers me gusta a veces, sólo a veces…”. Sobre Los Hermanos Marx: “La agresividad, la ironía demasiado cruel de la que hacíamos gala, nos trajo serios problemas. Un día, en Nacogdoches, Texas, llevamos sobre el escenario una carreta tirada por una mula. Era una clara alusión a un político de ese entonces. Fue tal el escándalo que se produjo en la platea que fue necesaria la intervención de la policía para calmar los ánimos. Durante la Primera Guerra Mundial, Harpo y Gummo entraron al ejército como voluntarios. Chico y yo elegimos salir en giras para entretener a los soldados. Cuando terminó la guerra, Gummo dejó el escenario y se dedicó a fabricar impermeables. Zeppo decidió convertirse en agente teatral. Los tres hermanos Marx hicimos entonces ‘Una noche en la ópera’, la mejor de todas las películas; ‘Un día en el hipódromo’, ‘Un día en el circo’ y ‘La gran tienda’. En 1941 decidimos retirarnos. Pero el público insistió tanto, que debimos volver, en 1946, para hacer ‘Una noche en Casablanca’. Después de eso yo me dediqué a escribir. Tengo ya cinco libros. También hice artículos para revistas y guiones para teatro. La televisión me atrapó también: durante 14 años hice un programa que se llamó ‘Apueste su vida’. Ahora, después de tanto tiempo, ese show vuelve a ser hit en la televisión de Los Angeles. Recibí algunos premios, también. En 1974 la Academia de Artes y Ciencias Cinematográficas me honró con su premio anual, en reconocimiento por la creatividad y la hazaña de los tres hermanos, en la dura época del primer cine hablado. Ahora ya vivo de los recuerdos. Me casé tres veces. Tengo cuatro hijos. Ninguno se dedica al arte. Creo que nunca fue fácil aguantar a Groucho Marx. Ocurre siempre con la gente que hace reír a los demás…”.

 

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Limitation of liability

To the fullest extent permitted by applicable law, in no event will ALMA MAGAZINE, its affiliates, directors, officers, employees, agents, suppliers or licensors be liable to any person for any indirect, incidental, special, punitive, cover or consequential damages (including, without limitation, damages for lost profits, revenue, sales, goodwill, use of content, impact on business, business interruption, loss of anticipated savings, loss of business opportunity) however caused, under any theory of liability, including, without limitation, contract, tort, warranty, breach of statutory duty, negligence or otherwise, even if the liable party has been advised as to the possibility of such damages or could have foreseen such damages. To the maximum extent permitted by applicable law, the aggregate liability of ALMA MAGAZINE and its affiliates, officers, employees, agents, suppliers and licensors relating to the services will be limited to an amount no greater than one dollar or any amounts actually paid in cash by you to ALMA MAGAZINE for the prior one-month period prior to the first event or occurrence giving rise to such liability. The limitations and exclusions also apply if this remedy does not fully compensate you for any losses or fails of its essential purpose.

Indemnification

You agree to indemnify and hold ALMA MAGAZINE and its affiliates, directors, officers, employees, agents, suppliers and licensors harmless from and against any liabilities, losses, damages or costs, including reasonable attorneys’ fees, incurred in connection with or arising from any third-party allegations, claims, actions, disputes, or demands asserted against any of them as a result of or relating to your Content, your use of the Services or any willful misconduct on your part.

Severability

All rights and restrictions contained in this Agreement may be exercised and shall be applicable and binding only to the extent that they do not violate any applicable laws and are intended to be limited to the extent necessary so that they will not render this Agreement illegal, invalid or unenforceable. If any provision or portion of any provision of this Agreement shall be held to be illegal, invalid or unenforceable by a court of competent jurisdiction, it is the intention of the parties that the remaining provisions or portions thereof shall constitute their agreement with respect to the subject matter hereof, and all such remaining provisions or portions thereof shall remain in full force and effect.

Dispute resolution

The formation, interpretation, and performance of this Agreement and any disputes arising out of it shall be governed by the substantive and procedural laws of Florida, United States without regard to its rules on conflicts or choice of law and, to the extent applicable, the laws of United States. The exclusive jurisdiction and venue for actions related to the subject matter hereof shall be the courts located in Florida, United States, and you hereby submit to the personal jurisdiction of such courts. You hereby waive any right to a jury trial in any proceeding arising out of or related to this Agreement. The United Nations Convention on Contracts for the International Sale of Goods does not apply to this Agreement.

Assignment

You may not assign, resell, sub-license or otherwise transfer or delegate any of your rights or obligations hereunder, in whole or in part, without our prior written consent, which consent shall be at our own sole discretion and without obligation; any such assignment or transfer shall be null and void. We are free to assign any of its rights or obligations hereunder, in whole or in part, to any third party as part of the sale of all or substantially all of its assets or stock or as part of a merger.

Changes and amendments

We reserve the right to modify this Agreement or its terms related to the Services at any time at our discretion. When we do, we will revise the updated date at the bottom of this page, post a notification within the Services, send you an email to notify you. We may also provide notice to you in other ways at our discretion, such as through the contact information you have provided. An updated version of this Agreement will be effective immediately upon the posting of the revised Agreement unless otherwise specified. Your continued use of the Services after the effective date of the revised Agreement (or such other act specified at that time) will constitute your consent to those changes.

Acceptance of these terms

You acknowledge that you have read this Agreement and agree to all its terms and conditions. By accessing and using the Services you agree to be bound by this Agreement. If you do not agree to abide by the terms of this Agreement, you are not authorized to access or use the Services.

Contacting us

If you have any questions, concerns, or complaints regarding this Agreement, we encourage you to contact us using the details below:

[email protected]ALMAMAGAZINE.com

This document was last updated on November 12, 2021

Disclaimer

This disclaimer (“Disclaimer”) sets forth the general guidelines, disclosures, and terms of your use of the BoatsGuideFlorida.com website (“Website”), “ALMA MAGAZINE” mobile application (“Mobile Application”) and any of their related products and services (collectively, “Services”). This Disclaimer is a legally binding agreement between you (“User”, “you” or “your”) and GHIDS MEDIA CORP (doing business as “ALMA MAGAZINE”, “we”, “us” or “our”). If you are entering into this agreement on behalf of a business or other legal entity, you represent that you have the authority to bind such entity to this agreement, in which case the terms “User”, “you” or “your” shall refer to such entity. If you do not have such authority, or if you do not agree with the terms of this agreement, you must not accept this agreement and may not access and use the Services. By accessing and using the Services, you acknowledge that you have read, understood, and agree to be bound by the terms of this Disclaimer. You acknowledge that this Disclaimer is a contract between you and ALMA MAGAZINE, even though it is electronic and is not physically signed by you, and it governs your use of the Services.

Representation

Any views or opinions represented on the Services are personal and belong solely to ALMA MAGAZINE and do not represent those of people, institutions or organizations that ALMA MAGAZINE may or may not be associated with in professional or personal capacity unless explicitly stated. Any views or opinions are not intended to malign any religion, ethnic group, club, organization, company, or individual.

Content and postings

You may not modify, print or copy any part of the Services. Inclusion of any part of the Services in another work, whether in printed or electronic or another form or inclusion of any part of the Services on another resource by embedding, framing or otherwise without the express permission of ALMA MAGAZINE is prohibited.

Compensation and sponsorship

The Services may contain forms of advertising, sponsorship, paid insertions or other forms of compensation. On certain occasions ALMA MAGAZINE may be compensated to provide opinions on products, services, or various other topics. The compensation received may influence such opinions of the advertised content or topics available on the Services. Sponsored content and advertising space will always be identified as such. Some of the links on the Services may be affiliate links. This means if you click on the link and purchase an item, ALMA MAGAZINE will receive an affiliate commission.

Indemnification and warranties

While we have made every attempt to ensure that the information contained on the Services is correct, ALMA MAGAZINE is not responsible for any errors or omissions, or for the results obtained from the use of this information. All information on the Services is provided “as is”, with no guarantee of completeness, accuracy, timeliness or of the results obtained from the use of this information, and without warranty of any kind, express or implied. In no event will ALMA MAGAZINE be liable to you or anyone else for any decision made or action taken in reliance on the information on the Services, or for any consequential, special or similar damages, even if advised of the possibility of such damages. Information on the Services is for general information purposes only and is not intended to provide any type of professional advice. Please seek professional assistance should you require it. Information contained on the Services are subject to change at any time and without warning.

Changes and amendments

We reserve the right to modify this Disclaimer or its terms related to the Services at any time at our discretion. When we do, we will revise the updated date at the bottom of this page, post a notification within the Services, send you an email to notify you. We may also provide notice to you in other ways at our discretion, such as through the contact information you have provided. An updated version of this Disclaimer will be effective immediately upon the posting of the revised Disclaimer unless otherwise specified. Your continued use of the Services after the effective date of the revised Disclaimer (or such other act specified at that time) will constitute your consent to those changes.

Acceptance of this disclaimer

You acknowledge that you have read this Disclaimer and agree to all its terms and conditions. By accessing and using the Services you agree to be bound by this Disclaimer. If you do not agree to abide by the terms of this Disclaimer, you are not authorized to access or use the Services.

Contacting us

If you have any questions, concerns, or complaints regarding this Disclaimer, we encourage you to contact us using the details below:

[email protected]

This document was last updated on March 12, 2022

Privacy Policy
This policy was last updated on March 21, 2022.
Introduction
This Privacy Policy applies to all of the products, services, and websites offered by Ghids Media Corporation and its subsidiaries or affiliated companies (collectively, “Ghids Media”). We provide this notice explaining our privacy practices and the choices you can make about how your information is collected and used by Ghids Media Corporation. Ghids Media has appointed a Data Protection Office to contact if you have any questions or concerns. The Data Protection Office contact information is as follows: Data Protection Office  Ghids Media Corporation  11007 Griffing Blvd. Miami, FL33161  [email protected]
An overview of the information we may collect.
You can take advantage of many Bonnier products, services, and websites without providing any information that personally identifies you by name, address, or other personally-identifying information. We only collect personally-identifying information when you voluntarily submit it to us. Sometimes, we need personally-identifying information to provide you with the products and services you request. Depending upon the product or service, we may ask you for various personally-identifying information. This might include, for example, your name, address, email address, telephone number, gender, and birth date. We may also ask for other information about you, such as your credit card information (when making a purchase), interests, income, or education level. We consider certain identifying information “sensitive.” This includes your credit card number, income level, or other information usually regarded as confidential. Some personal information will never be requested or collected, such as information on your race or ethnic origin, political opinions, trade union memberships, religious beliefs, health, sex life, or sexual orientation. You may choose not to provide us with any personally-identifying information. In that case, you can still access and use many portions of our websites; however, you will not be able to access and use those portions of any Bonnier website that require your personal information. Many Ghids Media websites include community features, such as online forums and message boards. The information posted in these areas becomes public information, and any third party’s use of this information is beyond our control. If you elect to submit content that includes information that can be used to identify you, you must assume that the content can and will be displayed on any website on the Internet. Our properties may feature measurement software, which will allow you to contribute to market research. We allow third-party companies to serve ads and/or collect certain information when you visit our website and directly in emails/communications. These companies may use information you have shared (e.g., click stream information, browser type, time and date, subject of advertisements clicked or scrolled over, email address) during your visits to this and other Web sites to provide advertisements about goods and services likely to be of greater interest to you. Our partners use this information to recognize you across different channels and platforms over time for advertising, analytics, attribution, and reporting purposes; any information collected is stored in hashed or non-human-readable form. These companies typically use a cookie or third party web beacon to collect this information. Ghids Media websites sometimes may offer contests, sweepstakes, or promotions sponsored by or co-sponsored with identified third parties. Under their sponsorship, these third parties may obtain personally-identifying information that visitors voluntarily submit to them to participate in the contest, sweepstakes, or promotion. B Ghids Media has no control over the third-party sponsors’ use of this information. If a third-party sponsor beyond our control will obtain information that you supply us, we will notify you when we collect the information from you. For specific promotions, only those who provide us with the requested personally-identifying information will be able to order products, programs, and services or otherwise participate in the promotion’s activities and offerings. Some of our websites contain links to other sites. By clicking on these links, you will leave the website operated by Ghids Media and this Privacy Policy will no longer apply. These other sites’ information practices may be different than ours. You should consult the other sites’ privacy notices, as we have no control over information submitted to or collected by these third parties.
How we use the information we collect
We use the personally-identifying information you provide us to fulfill your requests for our products, programs, and services, respond to your inquiries about offerings, and offer you other products, programs, or services that we believe may be of interest to you. We sometimes use this information to communicate with you, such as to notify you when you have won one of our contests, make changes to subscriber agreements, fulfill a request by you for an online newsletter, or contact you about your account with us. We do not use your personal information to make automated decisions. We may syndicate the publicly available content of our community areas to unaffiliated third-party websites using RSS or other technologies. The information you have shared in the community areas may be included in this syndication. We will use the personally-identifying information that you provide about others in order to provide the products or services that you have requested; for example, to enable us to send them your gifts or cards. If you provide us someone else’s personally-identifying information for