Jack Kerouac

EL PADRE DE LA CONTRACULTURA

A 65 años de la edición de On the Road, su figura vuelve del costado de la carretera, de los márgenes de la literatura, del otro lado del sueño americano para refrendar lo mismo que hizo en 1957. Hay un modo distinto de contar una historia. Hay una forma diferente de vivirla. Quien hizo de la “Beat Generation” uno de los tótems más encumbrados de la historia estadounidense reciente. Quien desestabilizó a la literatura moderna. Quien reformó la figura del escritor maldito. Quien vivió para contarlo. Ese fue él: Jack Kerouac.

BIOGRAFÍAS

Jack Kerouac

EL PADRE DE LA CONTRACULTURA

A 65 años de la edición de On the Road, su figura vuelve del costado de la carretera, de los márgenes de la literatura, del otro lado del sueño americano para refrendar lo mismo que hizo en 1957. Hay un modo distinto de contar una historia. Hay una forma diferente de vivirla. Quien hizo de la “Beat Generation” uno de los tótems más encumbrados de la historia estadounidense reciente. Quien desestabilizó a la literatura moderna. Quien reformó la figura del escritor maldito. Quien vivió para contarlo. Ese fue él: Jack Kerouac.

Al igual que su existencia, la obra de Jack Kerouac gira en torno a espasmos. Violentos o calmos. Manchas, vocablos, acciones, ovillos deshilachados que, tal como en la psicología de la Gestalt, permiten conocer el todo antes que la suma de sus partes. Kerouac es un nombre que exige detenerse al pronunciarlo o escribirlo. Reencarnación del escritor que antepone a su firma el título de maldito. Música (el jazz) más que escritura. James Dean con hectolitros de espirituosas y alucinógenos varios. Estilo bonzo antes que a Hunter S. Thompson (el autor de Fear and Loathing in Las Vegas) se le ocurriese recorrer miles de kilómetros de la América profunda para bregar su verdad. Kerouac concibió, o al menos blandió, la misma bandera que el rockero Neil Young al señalar eso de “es mejor arder que apagarse lentamente”. Su fantasma es caótico, y en cierta forma amable para quienes sueñan –pero no realizan porque saben que es demasiado doloroso– un presente, su presente, al margen de lo seguro. De Massachussets a Florida, el inicio y el final de la peonza que giró y cayó. Y que se puede volver a hacer bailotear. Una vuelta más.

EL FRANCOFONO ATLETA

Jean-Louis Lebris de Kerouac nació el 12 de marzo de 1922 en Lowell, Massachussets. La historia de su familia era otra de las tantas sagas de inmigrantes, en su caso canadienses francófonos, que procuraban un futuro mejor en una tierra ajena. Antes de saber hablar, el menor de tres hermanos ayudaba a Leo, el patriarca del clan, a atender su propia imprenta. Sería su padre quien inculcó el placer por la literatura en Jean-Louis (aún no lo llamaban Jack): “Soy canadiense, no aprendí a hablar en inglés hasta los cinco o los seis años de edad; a los dieciséis hablaba con cierta dificultad y en la escuela era un desastre” dijo el –por entonces– monaguillo y estudiante de una escuela católica. Juego de palabras, uno de sus primeros textos se llamó The Cop and the Beat. Instituciones y Beat. Pero ya habría lugar para ello. Al mismo tiempo que la escritura, el otro placer de Kerouac era el deporte.

En la Bartlett Junior High School se destacó como un veloz corredor, con varias medallas en los 100 metros. Optó por descollar como running back para el equipo de fútbol de su colegio. Kerouac, resistente “como una pared de ladrillos” según quienes jugaron con él, fue tentado para cursar en el Boston College, Notre Dame y la Universidad de Columbia. Se decidió por una beca en la casa de estudios de Nueva York, aunque el sueño del novato se hizo añicos, tal como su pierna durante su primera temporada. A esa imagen idílica le faltan algunos trazos. Con menos de 20 años, había publicado algunos relatos cortos, artículos deportivos, frecuentaba los clubes de Harlem en busca de jazz, fumaba marihuana y bebía con bastante frecuencia. Una fotografía en blanco y negro más: había perdido la virginidad con una prostituta en Manhattan. Tras abandonar Columbia se alistó en 1943 en la marina mercante. Viajó a Liverpool y conoció Groenlandia, aunque el viajero errante duró poco como militar. Según relatos posteriores fue echado por “demencia precoz”, aunque en otras biografías es Kerouac quien decide abandonar esa carrera para volver a Nueva York. En la gran manzana conoció a William Burroughs y a Lucien Carr. Ambos centrales en su historia. Carr, además de presentarle a Allen Ginsberg, mató en un accidente automovilístico a David Cammerer. Por el confuso episodio, Kerouac fue arrestado por ocultar pruebas en 1944. Justo en esos días se casó con Eddie Parker. No se trató de amor, sino de un ardid para conseguir el dinero de la fianza. Corrían mediados de los años 40. Estados Unidos se despedía lentamente de la Segunda Guerra Mundial. Rosie the Riveter –famosa canción que retrataba a las mujeres que suplantaban a los hombres en las fábricas en esa época– volvía al hogar. Y un grupo de escritores se propuso vomitar sus experiencias. La generación Beat había nacido.

ESE CAMINO

“Conocí a Dean poco después de que mi mujer y yo nos separásemos”. Con esas palabras comienza On the Road, libro surgido de los periplos reales y ficcionales que emprendió Kerouac. En sus páginas se mezclan las figuras de Burroughs, de Ginsberg, cientos de referencias culturales y las memorias de sus viajes a la Costa Oeste en autobús o haciendo autostop. Su otro yo, Sal Paradise, recorre el norte junto a Dean Moriarty, tras una emoción superadora. “Sabía que durante el camino habría chicas, visiones, de todo; sí, en algún lugar del camino me entregarían la perla”, seduce en los primeros párrafos de esta Biblia contracultural. Y claro, está Dean. Personaje nacido de la correspondencia que Kerouac mantuvo con Neal Cassady, poco después de que publicara su primera novela, The Town & the City en 1950. Texto que configuró su filosofía de narrador, donde realidad e imaginación procrean nombres existentes, historias inventadas, aunque nada preanunciaba ese existencialismo tan afín al pensamiento Zen, y su tan mentado método de escritura de “prosa espontánea” (Ver el recuadro Credo y técnica de la prosa moderna).

Por otra parte, On the Road se propuso como un objeto cultural en sí mismo, cuya génesis funciona como espejo de lo narrado en sus hojas. Fue escrito en tres semanas en abril de 1951, mientras Kerouac vivía con Joan Haverty, su segunda esposa, en un edificio al 454 de la 20 West Street en Manhattan. Lo que tipeó a máquina iba a llamarse “The Roll”. Poco más de 120 páginas que pegó juntas, escritas a espacio simple, sin márgenes o distinciones en los párrafos. Y contrariamente al rumor, Kerouac dijo no haber usado ningún estimulante durante las largas sesiones de producción de su novela más legendaria, salvo por las incontables tazas de café. Monólogo interior, catarsis creativa, epifanía artística, resaca despabilada… obra previa a la obra. Dean Moriarty será el alter ego de toda la generación Beat, quien privilegia el movimiento sobre la quietud, la intensidad antes que la duración. Así pasan kilómetros, reflexiones, fiestas, silencios y muchas drogas a cuestas. Novela iniciática de un tiempo iniciático, augurando el costado perturbado, animal, perspicaz de la otra América. En plena era de prosperidad, Ginsberg tenía su aullido, Burroughs un almuerzo desnudo, Kerouac andaba por el camino. Tras varias reescrituras, On the Road fue publicada en 1957 por Viking Press. En poco tiempo The New York Times la calificaba como la obra “más bellamente ejecutada, la más clarividente y la más importante en la representación de su era”.

Más allá de lo que auguraba esa reseña, On the Road era un perfecto producto pop por sedimentación. El rock fue quien más adscribió a sus pasajes. Bob Dylan aseguró: “Cambió mi vida y la de todos los demás”; Jim Morrison sería otro de sus declarados seguidores; y Tom Waits construyó su personaje en base a ella. Sin On the Road no hubiesen existido filmes como Easy Rider; Paris, Texas o Thelma and Louise. Aunque, paradójicamente, el universo literario no fue tan afecto a sus postulados. En una recordada entrevista televisiva Norman Mailer y Truman Capote destrozaron al aclamado narrador. La labia contundente y viperina del hacedor de In Cold Blood dictaminó: “Lo de Jack Kerouac no es literatura, es mecanografía”.

EL NOMADE Y EL FINAL

En los años que mediaron entre la gestación y la primera edición de On the Road, Kerouac emprendió varios viajes por Estados Unidos; se enamoró de una india especialista en alucinógenos; se volvió adicto a la Benzadrina; abandonó a su segunda esposa y a su hija Janet –llegó a ser detenido por no cumplir con la manutención–, aparte de escribir otros textos fundamentales como Visions of Cody y The Subterraneans. Para los amantes de Kerouac, estos años son los cardinales: aparecieron sus mejores narraciones, imbuidas por su alma nómade, explicitando la vida como un viaje sin fin. Así, las cosas importantes (la naturaleza, la amistad y la espiritualidad) son un pasaporte para hallarse a sí mismo.

En The Dharma Burns surgió su costado más reposado, con el budismo Zen como medio para encontrar sentido a la experiencia, aunque el momento cumbre del libro sea, una vez más, un viaje: la ascensión al monte Matterhorn y todas las emociones que le provocó. Aunque nunca fue un best-seller con permanencia en la lista de The New York Times (alrededor de 5 semanas duró entre los más vendidos), la proyección de On the Road fue inmediata, y el suceso destruyó la forma en la que Kerouac se comunicaba con el mundo. Si antes la persona-personaje era un ignoto, ahora se había transformado en un símbolo de devoción e imitación. Si los jóvenes se acercaban a su casa para fumar marihuana y escuchar jazz, y ahora los echaba sin ningún complejo. Otros poetas y narradores admiraban su velocidad para escribir a máquina y su memoria prodigiosa. Kerouac decidía recitar haikus. Con la década del 60 abriéndose como la más revolucionaria del siglo XX, las rutinas de la generación Beat se tornaban la brújula a utilizar. Sus viejos compadres se convertían en iconos, y empuñaban a gusto el papel de eminencias contraculturales, Kerouac, por su parte, decidió recluirse junto a su madre y su tercera esposa, Stella Stampa, en St. Petersburg, Florida. Los vicios se tornaron un ciclo repetitivo, desde experimentar LSD con Timothy Leary a hacer de la bebida su verdadera compañera. A mediados de esa década, decepcionado por la actividad política de Allen Ginsberg, rompió las relaciones con él. Básicamente, a Kerouac no le importaba agitar al sistema como al autor de Howl –a quien le señala que envolverse en una bandera norteamericana es una falta de respeto. Entretanto publicó Satori in Paris y empezó a trabajar en la que sería su última obra en vida, Vanity of Duluoz.

En 1967, un grupo de la revista Paris Review fue a entrevistarlo. A pesar de su estado calamitoso –los problemas de aislamiento son evidentes–, surgieron algunos destellos de claridad. Sobre todo, cuando recordó su forma de trabajo en On the Road. Expresó con pasión sus teorías formales, y su odio hacia los editores que arruinaban la espontaneidad con los fórceps de la puntuación clásica: “Malcolm Cowley hizo infinitas revisiones e insertó miles de comas innecesarias como, digamos, Cheyenne, Wyoming… ¡Por qué no decir simplemente Cheyenne Wyoming!”. Criticó a Burroughs por no haber escrito nada a la altura de The Naked Lunch, manifestó su admiración por autores franceses –quería emular a los clásicos como Marcel Proust y deseaba escribir su gran novela– y se pronunció contra la fama: “No voy a pasar el resto de mi vida sonriendo y estrechando manos y enviando y recibiendo perogrulladas, como un candidato a funcionario político, porque soy escritor: mi mente tiene que estar sola, como la de Greta Garbo”.

Cuando lo entrevistaron, habló tan rápido y tanto como en sus mecanografías, y sorprendió con un conservadurismo bravucón y etílico: “Odio a los gays. Odio a los judíos. Odio a los hippies. Joe Mc-Carthy es mi hombre. Hombre, soy el Todo. Estoy en paz. Soy un Buda catatónico. Ahora vivo con mi mamá, pero soy Buda. Tengo mil quinientos dólares y ése es mi pasado y mi futuro y mi bastón. ¿Qué otra cosa tiene uno, además de su bastón? No hay que hacer demasiados planes. No tengas miedo. Nunca van a arrojar la Gran Bomba. Están peleando por ti. Tienen que proteger esas plantaciones de bambú. Las necesitan para fabricar nuestros bastones”. Hacia el final de sus días, en 1968, llegó a vender las cartas de Allen Ginsberg y Neal Cassady a la Universidad de Texas, y las de William Burroughs a la Universidad de Columbia. Más que un gesto de gratitud intelectual, fue todo lo contrario, un despojo hacia su propio pasado. Los fantasmas quedaban atrás. Cuando murió, a los 47 años, el 21 de octubre de 1969, dejó resmas enteras de diarios, cartas y apuntes sobre sus búsquedas en el budismo. En su cuenta bancaria había alrededor de noventa dólares. Para el año 2004 lo generado por su obra (y su estatura) se acercaba a los 20 millones de dólares; y Johnny Depp pagó una pequeña fortuna por un impermeable suyo que salió a remate.

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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 referral purposes, we may use that information to invite them to visit our websites or to provide them information about our products or services. If you provide us with your email and/or postal address, we may include that address in email and/or postal address lists that we sell, trade, or rent to third parties. These lists will never contain sensitive information. If you do not wish for your email or postal address to be shared with companies not owned by Bonnier who want to market products or services to you, you have the opportunity to opt out, as described below. You may also opt out of the receipt of any marketing materials from Ghids Media as described below. We may transfer your sensitive personally-identifying information to other Bonnier offices for internal management and administrative purposes. In addition, your personal data will be transferred to other Bonnier offices where necessary for the performance or conclusion of our contractual obligations to you or for your benefit. Transfers of personally-identifying information may also be made where necessary for the establishment, exercise, or defense of legal claims. We do not transfer personal information internationally. Ghids Media will only share your sensitive personal information with outside companies or individuals in any of the following limited circumstances:
  • When we use trusted businesses or persons to process personal information on our behalf. Before sharing any personal information with outside parties, we require that these parties agree to process such information based on our instructions and in compliance with this Privacy Policy and any other appropriate confidentiality and security measures.
  • When we have a good faith belief that access, use, preservation, or disclosure is necessary to:
  1. comply with applicable law, regulation, or legal process;
  2. enforce the applicable Terms of Service or other agreements and policies on the Company’s Websites;
  3. detect, prevent, or otherwise address fraud, security, or technical issues; or
  4. protect against imminent harm to the rights, property, or safety or Ghids Media, its users, or the public as required or permitted by law.
  • When you consent. Before we share your sensitive personal information outside of the previously listed circumstances, we will ask you for permission first. Please note that this only applies to sensitive information, as defined above.
We may also use, transfer, sell, and share aggregated, anonymous data about our users for any legal purpose, such as analyzing usage trends and seeking compatible advertisers and partners. In no event will this aggregated data contain any information that could be used to identify individual users of our products or services.
How we protect the safety and integrity of the information we collect
We take appropriate physical, electronic, and procedural measures to safeguard and protect your personal information. We use a variety of security measures, including encryption and authentication, to maintain the confidentiality of your personal information. We store your personal information on systems behind firewalls that are only accessible to a limited number of persons, each of whom is required to keep the information confidential. We also take appropriate measures to secure the transmission of sensitive personal information from your computer to the Company’s computers. When you transmit sensitive personal information to us, like credit card information, we offer the use of a secure connection to our servers. To the extent you select the secure connection method or your browser supports such functionality, all credit card account information that you supply is transmitted via secure encryption technology. Regardless of these measures, no system connected to the Internet or data transmission sent over the Internet can be guaranteed to be 100% secure. We will provide notice if we become aware of any security breach that may affect any sensitive personal information pertaining to you that we have stored on our systems. Ghids Media only collects personal information that is relevant to the purposes for which it will be used. Though we do take appropriate steps to review and update the information that we store to ensure that it is accurate, complete, and current, we also depend on you to update or correct your personal information when necessary. To protect your privacy and security, we will take reasonable steps to help verify your identity before granting access or making corrections. We will decline to process requests where we cannot verify the identity of the requester. We may also decline to process requests that are automated, repetitive, systematic, or impractical, or that might jeopardize the privacy of others. In some limited circumstances, such as to resolve disputes, troubleshoot problems, and enforce our policies, we may retain some of information that you have requested us to remove. Therefore, you should not expect that all of your personal information will be completely removed from our databases in response to your requests.
Your privacy options
We do not share your email address with any third-party, unless you have given us the explicit permission to do so. Email messages we send on behalf of our advertisers or other Bonnier brands are delivered from our internal email marketing system only. We may also use an encrypted form of your email address strictly for matching purposes, both internally and externally. We only want to communicate with you if you want to hear from us. All email messages we send will contain Unsubscribe and Manage Preferences links in the footer of each email, which you can use to control what type of email messages you receive. In order to provide you with all relevant content for our brand(s) with which you have interest and to give you the greatest degree of control over what type of messages you receive, your email address may exist on multiple lists. Taking action using the Unsubscribe link will suppress you from a single list for that type of content (ex: Editorial, Sponsored or Consumer Marketing). For this reason, if you want to stop receiving all email messages from a Bonnier brand, using the Manage Preferences link from the email footer may be a more appropriate option. You may also use the Manage Preferences link to receive other content types, update your personal information or sign up for emails from other Ghids Media brands.
Questions, Concerns, and Complaints
If you have any questions or concerns about this Policy, or if you think that we have used your personal information in a manner inconsistent with this Policy, please contact us by mail or email: Data Protection Office Ghids Media Corporation 11007 Griffing Blvd. Miami, FL33161 [email protected] If we receive a complaint from you, we will contact you in an attempt to address your concerns. If we are not able to resolve a complaint, we will participate in appropriate independent recourse mechanisms as necessary. Boats Guide Florida, Usa Onboard, Alma Magazine, Alma Miami and Ghids are Trademarks of Ghids Media Corp.

GHIDS MEDIA CORP & USA ONBOARD

Website And Web Application
Terms and conditions

USA ONBOARD is a media owned by GHIDS MEDIA CORP.

These terms and conditions (“Agreement”) set forth the general terms and conditions of your use of the BoatsGuideFlorida.com website (“Website”), “BOATS GUIDE FLORIDA” mobile application (“Mobile Application”), UsaOnboard.com website (“Website”), and any of their related products and services (collectively, “Services”). This Agreement is legally binding between you (“User”, “you” or “your”) and GHIDS MEDIA CORP (doing business as “BOATS GUIDE FLORIDA”, USA ONBOARD, “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 Agreement. You acknowledge that this Agreement is a contract between you and BOATS GUIDE FLORIDA & USA ONBOARD even though it is electronic and is not physically signed by you, and it governs your use of the Services.

Accounts and membership

If you create an account on the Services, you are responsible for maintaining the security of your account and you are fully responsible for all activities that occur under the account and any other actions taken in connection with it. We may monitor and review new accounts before you may sign in and start using the Services. Providing false contact information of any kind may result in the termination of your account. You must immediately notify us of any unauthorized uses of your account or any other breaches of security. We will not be liable for any acts or omissions by you, including any damages of any kind incurred as a result of such acts or omissions. We may suspend, disable, or delete your account (or any part thereof) if we determine that you have violated any provision of this Agreement or that your conduct or content would tend to damage our reputation and goodwill. If we delete your account for the foregoing reasons, you may not re-register for our Services. We may block your email address and Internet protocol address to prevent further registration.

User content
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